How to enrol:
Send an email to firstname.lastname@example.org detailing
which year/course you are enrolled in, your student ID, and briefly describing
your background and relevant skills and experience.
Note that numbers will be limited.
Who can join?
The course is open to undergraduate (2nd year minimum) and postgraduate students
from any degree or faculty.
There are no strict prerequisite courses, but students are required to have
sufficient practical experience with a relevant tools or technology to allow
meaningful contribution to the course. This could be one or more of the following,
(but is not limited to):
• Practical experience in location video and
• Post processing with After Effects, FinalCutPro and QuickTime
• Audio editing and post processing with Adobe Soundbooth or Apple
• Modeling or animating in Maya or 3DS Max
• Authoring in Quartz Composer
Digital cinema opened up new horizons in film production: new techniques,
new audiences, new languages make films more and more all embracing.
Some of the areas benefiting from those advances is virtual/cultural
heritage, museological education and immersive entertainment. It
is now possible to offer audiences telepresent experiences that
are unprecedented in their level of realism and immersive qualities.
360º global video recording, multi-channel sound, immersive
projection environments and new concepts in interactivity and narratives
go way beyond the traditional passive movie watching experience.
This lab-based course will provide an
introduction into Immersive Interactive Cinema and technologies
and will give students the opportunity to work in small groups
on a mixed-reality immersive cinema project for the iCinema Research
Centre iDome platform. On completion, the works will be exhibited
in the iCinema Scientia facility.
We will use the omni-directional camera system Ladybug and multi-channel
directional sound recording equipment for on location capture and
After Effects for post production and compositing. Apple Quartz
Composer, a node based graphic application development environment,
will be used for presentation, interactivity and playback on screen
and in the iDome.
Spherical Camera Ladybug 2, Video still
iDome installations. BackOBourke, iCinema Centre
How to enroll ?
Send an email to email@example.com detailing which year/course
you are enrolled in, your student ID, and briefly describing your
background and relevant skills and experience.
Once you've done this, the student centre will be notified of your
right to enroll in the course.
Note that numbers will be limited.
Video: Omni Directional Capture and Playback Systems
Video: iDome platform and applications
The aim of this course is to introduce the students to immersive
visualisualisation concepts and technologies and provide an opportunity
to use this knowledge in the production of mixed-reality installation.
Student learning outcomes
• Awareness of the cultural and historic context of immersive
• Acquire knowledge in fisheye, panoramic and spherical
projections and image acquisition
• Compositing and post-production of ultra-high resolution
• Basic Multi-track sound editing and processing
• Basic skills in Quartz Composer, 3D graphic and OpenGL
• Experience in conceptualising interactive immersive applications
• Effective communication of ideas and work in a small
Graduate Attributes Developed in this Course
• Demonstrate the ability to engage in collaborative endeavors.
• The ability to critically and constructively resolve
problems and issues.
• Continue to acquire, practice, develop and evaluate skills
and the application of new technologies to enhance communication
in a range of ways.
Approach to learning and teaching/ Teaching Strategies
After the initial introduction and demonstrations, this course
will take on the character of a workshop. A relative large amount
of time is set aside to go on location and capture 360º footage
with the Ladybug and 4-channel directional sound. This will be
a team effort and each student in the group will be assigned
with a task (production, directing, camera control, sound recording, …).
The lecturer will be on location as an observer and to help out
if there are technical problems or for advice if it is needed.
Back in the lab, the students will get an introduction to After
Effects for image post processing, Adobe Soundbooth or Apple Soundtrack
for multi-track sound editing and Quartz Composer to author the
project. Each student has to take on a task in this team effort
so all the assets can be integrated in the final application.
Attendance and participation in group project
Project proposal and pitch
to be announced
to be announced
Please refer to this URL for the general UNSW assessment policy.
ACADEMIC HONESTY AND PLAGIARISM
Please refer to this URL for the general UNSW plagiarism policy
COURSE SCHEDULE (draft)
Week 1 Welcome and introduction to immersive cinema.
History (Panorama Mesdag in The Hague, Francisco de Goya y Lucientes,
Immersive cinematic formats, Cinerama, iMax, Planetariums, …
Week 2 iCinema projects showcase at the Scientia Facility
Week 3 Projections (panoramic, spherical, cube, fisheye,...) and
Week 4 Introduction to Quartz Composer
Week 5 Presentation Assignment 1
Introduction Ladybug camera system and 4 channel sound recording
Week 6 On location shoot
Week 7 On location shoot
Week 8 On location shoot
Week 9 Compositing and editing After Effects
Week 10 Compositing and editing After Effects
Week 11 Implementation in Quartz Composer
Week 12 Presentation final projects/Assignment 2
We will be
working mainly in a CoFA Mac lab with Apple Quartz Composer and
After Effects CS4.
If students own a Apple Mac (Mac OS X 10.5 is minimum), it is worth
installing the free Apple Developer Tools which include Quartz
Oettermann, Stephan. The panorama :history of a mass medium. 1997.
UNSW/COFA Library: CFA 751.74/1 / SQ 751.7409/1
"The significance of panorama painting in the nineteenth century
is frequently cited in contemporary debates about visuality and
the emergence of the modern spectator. Stephan Oettermann's The
Panorama is the first major historical study to appear in English
of the rich phenomenon of the panorama, one of the most influential
forms of visual entertainment in the nineteenth century. In this
richly illustrated book Oettermann gives readers a concrete sense
of the structural and experiential reality of the panorama, and
the many forms it took throughout Europe and North America" --
Grau, Oliver. Virtual Art. From Illusion to Immersion. 2003.
UNSW/COFA Library: CFA 751.7401.1
In this book Oliver Grau shows how virtual art fits into the art
history of illusion and immersion. He describes the metamorphosis
of the concepts of art and the image and relates those concepts
to interactive art, interface design, agents, telepresence, and
image evolution. Grau retells art history as media history, helping
us to understand the phenomenon of virtual reality beyond the hype.
Crary, Jonathan. Techniques of the observer: on vision
and modernity in the nineteenth century.1992.
UNSW/COFA Library: CFA 701.15/43 B / 701.15/44
"Crary outlines a genealogy of vision that challenges some
standard assumptions about the history of film, photography, and
modernist art. He argues against a continuity of Renaissance traditions,
and for an abrupt break from classical models early in the 19th
century." -- Booknews
Crary, Jonathan. Suspensions of perception: attention,
spectacle, and modern culture. 1999.
UNSW/COFA Library: CFA 153.7/5 / P 153.7/76
"Is human vision universal and largely unchanging, or historically
conditioned? What happened to the Western understanding of vision
when the camera obscura, a simple pinhole camera popular in the
17th and 18th centuries gave way to the Kodak? Columbia University
art historian Crary brings a multidisciplinary approach to such
questions, and though his work is densely written for an academic
audience, it can be fun to read if only for the illustrations of
such wacky 19th-century optical toys and devices as the phenakistiscope
and the Kaiserpanorama." -- amazon.com
Comment, Bernhard. The Panorama. 2003.
"Invented in 1788, panoramas -- vast circular canvases designed
to be viewed from centrally placed platforms -- reached the height
of their popularity at the time of the 1900 Universal Exhibition.
Attracting crowds of admirers in the cities in which they were
installed, the more ambitious panoramas drew on the skill of specialist
painters to achieve the utmost verisimilitude. This superbly illustrated
volume is the first to chart this artistic phenomenon in depth." --
Comment, Bernard. The Painted Panorama. 2000.
"Panoramas-immense paintings, often in the round-were enormously
popular during the 19th century, both in Europe and in America.
Illustrated with hundreds of colorplates, including seven large
double gatefolds, Bernard Comment's incisive and detailed study
traces the history of an unusual art form, placing these elaborate
360-degree paintings in a full historical, social, and cultural
context." -- amazon.com