#May you reach your goals with flying rendering colors

[jeeaark]

Your rendering is just as good as your silly comic sketches holy crap. Goals

Thank you! Have a pretty portrait of Rook

[meterhunter889]

Best Macbook Pro For Video Editing

Best Macbook Pro 16 For Video Editing

What Is The Best Macbook Pro For Video Editing

Best Video Editing Computer

May 11, 2018. Jul 22, 2019. Apr 07, 2020.

Final Cut Pro. First on our list of 12 best video editing software for Mac is Final Cut Pro. It is Apple’s. Best MacBook Pro for Video Editing. The comparison chart below enlists all the best macbook pro for video editing to help you choose the best. Top 8 Best MacBook Pro for Video Editing. We have covered some of the best available options in this list. So, spend some minutes in reading to find the best.

Apple didn’t get its reputation for performance and accuracy from nowhere.

Everything from phones to paper-thin notebooks are engineering to work efficiently, and this makes their MacBooks ideal for all levels of video editing.

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Besides integrating extremely well with the Adobe Creative Cloud suite and many other third-party photo/video editing software, they offer a streamlined experience that will work well in any freelance or industry position.

In this guide, we’ll point out some key points for choosing the best MacBook Pro that will most effectively work for video editing at various levels, and showcase some of our own recommendations as well.

Quick Summary

For the casual creative, we recommend the 13-inch MacBook Pro with 256GB SSD, which offers quality performance without unnecessarily bulking up the specs. It doesn’t offer touch bar, but it is portable and sturdy.

If you certainly aren’t a hobbyist but not a pro either, 13-inch MacBook Pro with 512GB SSD is a better choice. The storage has been beefed up a bit, and the touch bar offers a new dimension of functionality.

Lastly, the professional creative looking to max out their performance power would be best served with a 15-inch MacBook Pro with i9 Processor and 512GB SSD. This model offers insane amounts of processing power, though you’ll likely still want an external monitor for the sake of screen space.

Is MacBook Pro Good for Video Editing?

In this case, it isn’t about whether or not a Mac will be effective for video editing, but a matter of how much power you really need.

If you just plan on doing minor work for youtube, you won’t be troubled by extensive renders or clamoring for screen restate, so it doesn’t make sense to pay for specs built for something ten times as processor-intensive.

However, if you plan on doing digital animation or working in 4K, it’s definitely time to look at higher-end machines that will be able to handle what you’re throwing at them.

If you’re not planning on editing videos in some way, you should not treat this article as a collection of the most powerful MacBooks overall.

Intensive computer work demands different specs depending on what you plan on doing, so you can’t assume the best for editing will be the best for say, gaming.

Best MacBook Pro for Video Editing: What to Consider in 2020?

Graphics

The key to a fast render is a high quality dedicated graphics card, and while lower-level work will likely be fine using an integrated card, you’ll want a dedicated one for anything beyond the casual home video or Youtube vlog. Dedicated graphics allow your computer to utilize RAM (Random Access Memory) specifically for the high-quality visuals you’ll be rendering as effectively as possible.

Processor

The processor is going to be handling every detail of your video as you build it, so you’re going to want to look towards the latest generations of the Intel i5 and i7 lines. Since video software can make use of multiple threads as well, these will benefit you while creating your project.

RAM

The final element that will make or break the performance of your MacBook while working on video editing is RAM. It’s used in every aspect of your computer’s execution of processes, and you’ll want a minimum of 8GB for amateur work, with a goal of 16GB if you’re editing professionally.

Best MacBook Pro for Video Editing in 2020: Our Picks

1. Casual Video Editing: 13-inch MacBook Pro (2.4GHz, Intel Core i5 processor, 256GB)

If you’re going to be editing home videos and content for Youtube, you probably won’t be doing intensive 3D renders or completely utilizing heavy programs even if they are installed. This version of the 13″ MacBook Pro comes with the processing power to reach your goal without unnecessarily overcompensating.

Pros:

The 13″ model is extremely portable, so you’ll have editing power at your fingertips wherever you go.

RAM is the perfect amount for this type of user and should last several years.

SSD drive means that renders and saves will be completed faster than with a physical HDD disk.

Cons:

SSD is pricey, which is why this model only comes with 256 GB in disk space. You’ll definitely want to purchase an external drive to compensate for this when storing your videos.

Additionally, this model uses an integrated graphics card which will be fine for this level of editing but doesn’t offer room for growth.

2. For Amateur Movie Making: 13-inch MacBook Pro (2.4GHz, Intel Core i5 processor, 512GB)

Whether college student or budding short-film director, you need power and a modern flair without the expense of a professional setup. This model of MacBook is a great compromise, offering Apple’s latest touch bar and touch ID technology packed into a 13″ body powered by an integrated Intel Iris Plus Graphics 655.

Pros: Bluestacks mac os.

Offering both portability and power, this modern masterpiece has all the specs to get you where you want to go without any unnecessary bulk.

The brand-new touch bar is also included and known to have great integrations when working in Final Cut Pro or the Adobe Suite.

Cons:

While offering more space than the aforementioned 256GB model, it’s still a bit on the small side for storing large video files.

It also has an integrated graphics card, which is slightly less than ideal.

3. For Professional Creatives: 15-inch MacBook Pro (2.3GHz, Intel Core i9 processor, 512GB)

Truly a top of the line machine, this MacBook Pro model was built for precision and nothing less. The 8-core i9 processor can stand up to just about anything you throw at it, it has a powerful graphics card UHD Graphics 630. The 15″ screen offers some more real estate than the smaller 13″ models.

Pros:

It has nearly unbeatable power between the mix of RAM, dGPU, and processor.

The beautiful screen will produce accurate colors and the touch bar will allow you to work even more effectively in your favorite editing programs.

You have the option to choose more storage space if needed.

Cons:

When editing professionally, you need all the screen space you can get, and no size laptop is going to be able to offer that. If you don’t have an external monitor, check out our recommendations.

Useful Mac Video Editing Resources

Just getting started with editing your own videos? LifeWire offers a great tutorial on getting started, from which software will be the most useful to whether you’ll fare better with some peripherals. Also, check out this complete video editing tutorial for non-editors on Mac:

A fan of iMovie? MacWorld has made a fantastic list of best tips on how to get the most out of Apple’s video editing software for macOS.

Best Macbook Pro 16 For Video Editing

You could also check out this list of free and paid Mac video editing apps (TechRadar), which will let you experiment before deciding exactly what you need in a paid program.

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What Is The Best Macbook Pro For Video Editing

Final Words

Video editing is a prime example of technical work that eats RAM and CPU power like no other. Luckily, a MacBook Pro was made to stand up to these things and is sure to perform if you’ve picked an adequate model.

Best Video Editing Computer

What set up do you currently use to edit videos? Let us know and share which specs you think are most important for productive work.

[theartofwriting-imagines]

Mother Gothel - OUAT x reader

Words: 959 Characters: Emma Swan, Captain Hook, Snow White, Prince Charming, Henry, The Evil Queen, Y/N, Gothel, The Stabbington brothers Warnings: Speaking ill of their daughter, not many warnings, slight sadness/looking down at someone. Awful writing/Imagine A/n: Been a while hasn’t it? xd Awful month so haven’t written anything, this is literally the first thing I’ve written in a while. Hope you guys like it.

‘’Let the crown go, Gothel.’’

You shied away, watching from behind Regina and Emma as your ‘’mother’’ stood by the throne, said crown placed in her hands. You could hear silent murmurs from the audience and you nervously tugged at your (h/c) hair, a bad habit you had caught on to after a few years locked up in the tower.

‘’You must be ever so crazy if you think I will give it to you.’’ Your mother sneered. ‘’This crown is finally mine.’’

‘’It does not belong to you!’’ Henry exclaimed, clutching his storybook for dear life as he narrowed his eyes at the woman. ‘’ That crown belongs to (Y/N)!’’

Gothel mockingly gasped, placing a hand at her lips. ‘’ Oh! It is?!’’ She glanced towards her daughter. ‘’ Whyever haven’t you said anything?’’

You took a step back, not meeting her eyes as she began to cackle. You felt a gentle hand touching your shoulder and you slightly glanced to your left, meeting Snow White’s figure. Her eyes were trailed on your mother but the hand that squeezed your shoulder gave you a signal that you weren’t alone and that there were nothing you would have to be afraid of.

‘’That’s right.’’ Gothel snickered. ‘’ You can’t. You have always been and always will be a mother’s girl. Always wanting acceptance and looking for someone to lean on.’’

 ‘’ One more word and you are toast.’’ Regina snarled, a fireball appearing on her palm as Hook reached for his trusty sword that hung on his hip.

‘’News flash, Evil Queen.’’ Gothel said, narrowing her eyes in amusement. ‘’ You.don’t.scare.me.anymore.’’ She stated, her amusement deepening with each word.

‘’Maybe she don’t.’’ Emma replied. ‘’ But maybe this does.’’ She growled and threw out her hand, a shockwave of a bright light bursting out of her hand, sending Gothel tumbling backwards. ‘’ You are nothing without the magic flower.’’

Gothel growled and got up. ‘’Sideburns, Patchy, don’t just stand there! GET THEM!’’

The stabbington brothers that had been standing off to the side glanced at each other before yelling out battle cries, wielding their swords.

Hook drew his and, with the help from Charming, they began to take on the brothers. Snow pushed you to her, preventing you from coming to harm whilst Emma and Regina coaxed Henry back.

‘’ You really think ganging up on me is going to work?’’ Gothel barked, grinning madly. ‘’ Even if my daughter gets her crown, her loyalty still lies in her mother. She is too scared to disobey me. And even if she tries, I’ll break the crown before she gets it and everyone that is frozen in this kingdom will forever be cursed as rocks.’’

Regina glowered and Emma narrowed her eyes, feeling disgust crawl up her on how she spoke to the younger girl. Gothel were speaking as if (y/n) were her slave more than her daughter. Emma nearly puked in her mouth at that.

‘’ How dare you!’’ Snow exclaimed as Charming slammed the butt of his sword into Sideburns, rendering him unconscious. ‘’ This is a living person we are talking about! She is your daughter!’’

‘’She may be my daughter.’’ Gothel snarled. ‘’ But I hold no love to her.’’

Your eyes snapped up, your heart cracking as your eyes began to well up. You had always known she never loved you. I mean, how couldn’t you have? All the empty promises, all the times she forbid you from doing what you loved, all the times she left you alone for days locked up in a tower, never caring if you ate food, never caring if you slept. She just simply didn’t care.

Your eyes narrowed as the tears turned into anger. How dare she do this to you? How dare she treat you this way?

‘’You just made a giant mistake.’’ You growled, catching everyone’s attention as your mother frowned. ‘’ You made your daughter angry.

You grabbed onto your long hair and began to swing it like a lasso before throwing it towards your mother, a surprised gasp leaving her lips as she realized her mistake. She should have cut your hair. Gothel began to grab onto the crown, her goal being to break it, but before she got the chance, the end of your hair latched onto her arm, and pulled it back, your mother flying forward. She released the crown and in horror watched it slide towards Emma’s feet.

‘’No! No No!’’ Gothel exclaimed and began, in vain, to crawl towards the crown that Emma kneeled to pick up. ‘’ Stop! Please!’’

Emma handed the crown to you and you gently squeezed the grip you had on it, smiling softly. You looked up at Gothel that froze.

 ‘’This is payback, mother.’’

Hook and Charming were just about done tying the Stabbington brothers when you placed the crown on your head.

The crown began to shine as golden dust fell from it. The dust blended into your ragged dress and once your whole dress were covered with dust, it began glow. Spinning around in a circle, you grabbed onto the dress, picking it up a little as a it began to expand. Butterflies in different colours burst out from the glitter dust, flying around your form as your long hair began to glow and the heroes could do nothing but watch as your appeared in a thick braid. Colors burst and everyone shielded their eyes as the light got even brighter before it exploded, leaving you behind.

The ragged dress had turned pink, covered in blue glittered butterflies along the ends. Butterfly accessories were decorated in your braid and around your crown.

‘’Woah!’’ Henry gaped in awe. 

You looked up from the floor, meeting your mother’s eyes with a hard glare.

[ciathyzareposts]

The Shareware Scene, Part 5: Narratives of DOOM

Let me begin today by restating the obvious: DOOM was very, very popular, probably the most popular computer game to date.

That “probably” has to stand there because DOOM‘s unusual distribution model makes quantifying its popularity frustratingly difficult. It’s been estimated that id sold 2 to 3 million copies of the shareware episodes of the original DOOM. The boxed-retail-only DOOM II may have sold a similar quantity; it reportedly became the third best-selling boxed computer game of the 1990s. But these numbers, impressive as they are in their own right, leave out not only the ever-present reality of piracy but also the free episode of DOOM, which was packaged and distributed in such an unprecedented variety of ways all over the world. Players of it likely numbered well into the eight digits.

Yet if the precise numbers associated with the game’s success are slippery, the cultural impact of the game is easier to get a grip on. The release of DOOM marks the biggest single sea change in the history of computer gaming. It didn’t change gaming instantly, mind you — a contemporaneous observer could be forgiven for assuming it was still largely business as usual a year or even two years after DOOM‘s release — but it did change it forever.

I should admit here and now that I’m not entirely comfortable with the changes DOOM brought to gaming. In fact, for a long time, when I was asked when I thought I might bring this historical project to a conclusion, I pointed to the arrival of DOOM as perhaps the most logical place to hang it up. I trust that most of you will be pleased to hear that I no longer feel so inclined, but I do recognize that my feelings about DOOM are, at best, conflicted. I can’t help but see it as at least partially responsible for a certain coarsening in the culture of gaming that followed it. I can muster respect for the id boys’ accomplishment, but no love. Hopefully the former will be enough to give the game its due.

As the title of this article alludes, there are many possible narratives to spin about DOOM‘s impact. Sometimes the threads are contradictory — sometimes even self-contradictory. Nevertheless, let’s take this opportunity to follow a few of them to wherever they lead us as we wrap up this series on the shareware movement and the monster it spawned.

3D 4EVA!

The least controversial, most incontrovertible aspect of DOOM‘s impact is its influence on the technology of games. It was nothing less than the coming-out party for 3D graphics as a near-universal tool — this despite the fact that 3D graphics had been around in some genres, most notably vehicular simulations, almost as long as microcomputer games themselves had been around, and despite the fact that DOOM itself was far from a complete implementation of a 3D environment. (John Carmack wouldn’t get all the way to that goal until 1996’s Quake, the id boys’ anointed successor to DOOM.) As we’ve seen already, Blue Sky Productions’s Ultima Underworld actually offered the complete 3D implementation which DOOM lacked twenty months before the latter’s arrival.

But as I also noted earlier, Ultima Underworld was complex, a little esoteric, hard to come to terms with at first sight. DOOM, on the other hand, took what the id boys had started with Wolfenstein 3D, added just enough additional complexity to make it into a more satisfying game over the long haul, topped it off with superb level design that took full advantage of all the new affordances, and rammed it down the throat of the gaming mainstream with all the force of one of its coveted rocket launchers. The industry never looked back. By the end of the decade, it would be hard to find a big boxed game that didn’t use 3D graphics.

Many if not all of these applications of 3D were more than warranted: the simple fact is that 3D lets you do things in games that aren’t possible any other way. Other forms of graphics consist at bottom of fixed, discrete patterns of colored pixels. These patterns can be moved about the screen — think of the sprites in a classic 2D videogame, such as Nintendo’s Super Mario Bros. or id’s Commander Keen — but their forms cannot be altered with any great degree of flexibility. And this in turn limits the degree to which the world of a game can become an embodied, living place of emergent interactions; it does no good to simulate something in the world model if you can’t represent it on the player’s screen.

3D graphics, on the other hand, are stored not as pixels but as a sort of architectural plan of an imaginary 3D space, expressed in the language of mathematics. The computer then extrapolates from said plan to render the individual pixels on the fly in response to the player’s actions. In other words, the world and the representation of the world are stored as one in the computer’s memory. This means that things can happen there which no artist ever anticipated. 3D allowed game makers to move beyond hand-crafted fictions and set-piece puzzles to begin building virtual realities in earnest. Not for nothing did many people refer to DOOM-like games in the time before the term “first-person shooter” was invented as “virtual-reality games.”

Ironically, others showed more interest than the id boys themselves in probing the frontiers of formal possibility thus opened. While id continued to focus purely on ballistics and virtual violence in their extended series of Quake games after making DOOM, Looking Glass Technologies — the studio which had previously been known as Blue Sky Productions — worked many of the innovations of Ultima Underworld and DOOM alike into more complex virtual worlds in games like System Shock and Thief. Nevertheless, DOOM was the proof of concept, the game which demonstrated indubitably to everyone that 3D graphics could provide amazing experiences which weren’t possible any other way.

From the standpoint of the people making the games, 3D graphics had another massive advantage: they were also cheaper than the alternative. When DOOM first appeared in December of 1993, the industry was facing a budgetary catch-22 with no obvious solution. Hiring armies of artists to hand-paint every screen in a game was expensive; renting or building a sound stage, then hiring directors and camera people and dozens of actors to provide hours of full-motion-video footage was even more so. Players expected ever bigger, richer, longer games, which was intensely problematic when every single element in their worlds had to be drawn or filmed by hand. Sales were increasing at a steady clip by 1993, but they weren’t increasing quickly enough to offset the spiraling costs of production. Even major publishers like Sierra were beginning to post ugly losses on their bottom lines despite their increasing gross revenues.

3D graphics had the potential to fix all that, practically at a stroke. A 3D world is, almost by definition, a collection of interchangeable parts. Consider a simple item of furniture, like, say, a desk. In a 2D world, every desk must be laboriously hand-drawn by an artist in the same way that a traditional carpenter planes and joins the wood for such a thing in a workshop. But in a 3D world, the data constituting the basic form of “desk” can be inserted in a matter of seconds; desks can now make their way into games with the same alacrity with which they roll off of an IKEA production line. But you say that you don’t want every desk in your world to look exactly the same? Very well; it takes just a few keystrokes to change the color or wood grain or even the size of your desk, or to add or take away a drawer. We can arrive at endless individual implementations of “desk” from our Platonic ideal with surprising speed. Small wonder that, when the established industry was done marveling at DOOM‘s achievements in terms of gameplay, the thing they kept coming back to over and over was its astronomical profit margins. 3D graphics provided a way to make games make money again.

So, 3D offered worlds with vastly more emergent potential, made at a greatly reduced cost. There had to be a catch, right?

Alas, there was indeed. In many contexts, 3D graphics were right on the edge of what a typical computer could do at all in the mid-1990s, much less do with any sort of aesthetic appeal. Gamers would have to accept jagged edges, tearing textures, and a generalized visual crudity in 3D games for quite some time to come. A freeze-frame visual comparison with the games the industry had been making immediately before the 3D revolution did the new ones no favors: the games coming out of studios like Sierra and LucasArts had become genuinely beautiful by the early 1990s, thanks to those companies’ rooms full of dedicated pixel artists. It would take a considerable amount of time before 3D games would look anywhere near this nice. One can certainly argue that 3D was in some fairly fundamental sense necessary for the continuing evolution of game design, that this period of ugliness was one that the industry simply needed to plow through in order to emerge on the other side with a whole new universe of visual and emergent possibility to hand. Still, people mired in the middle of it could be forgiven for asking whether, from the evidence of screenshots alone, gaming technology wasn’t regressing rather than progressing.

But be that as it may, the 3D revolution ushered in by DOOM was here to stay. People would just have to get used to the visual crudity for the time being, and trust that eventually things would start to look better again.

Playing to the Base

There’s an eternal question in political and commercial marketing alike: do you play to the base, or do you try to reach out to a broader spectrum of people? The former may be safer, but raises the question of how many more followers you can collect from the same narrow slice of the population; the latter tempts you with the prospect of countless virgin souls waiting to embrace you, but is far riskier, with immense potential to backfire spectacularly if you don’t get the message and tone just right. This was the dichotomy confronting the boxed-games industry in the early 1990s.

By 1993, the conventional wisdom inside the industry had settled on the belief that outreach was the way forward. This dream of reaching a broader swath of people, of becoming as commonplace in living rooms as prime-time dramas and sitcoms, was inextricably bound up with the technology of CD-ROM, what with its potential to put footage of real human actors into games alongside spoken dialog and orchestral soundtracks. “What we think of today as a computer or a videogame system,” wrote Ken Williams of Sierra that year, “will someday assume a much broader role in our homes. I foresee a day when there is one home-entertainment device which combines the functions of a CD-audio player, VCR, videogame system, and computer.”

And then along came DOOM with its stereotypically adolescent-male orientation, along with sales numbers that threatened to turn the conventional wisdom about how well the industry could continue to feed off the same old demographic on its head. About six months after DOOM‘s release, when the powers that were were just beginning to grapple with its success and what it meant to each and every one of them, Alexander Antoniades, a founding editor of the new Game Developer magazine, more fully articulated the dream of outreach, as well as some of the doubts that were already beginning to plague it.

The potential of CD-ROM is tremendous because it is viewed as a superset not [a] subset of the existing computer-games industry. Everyone’s hoping that non-technical people who would never buy an Ultima, flight simulator, or DOOM will be willing to buy a CD-ROM game designed to appeal to a wider audience — changing the computer into [an] interactive VCR. If these technical neophytes’ first experience is a bad one, for $60 a disc, they’re not going to continue making the same mistake.

It will be this next year, as these consumers make their first CD-ROM purchases, that will determine the shape of the industry. If CD-ROM games are able to vary more in subject matter than traditional computer games, retain their platform independence, and capture new demographics, they will attain the status of a new platform [in themselves]. If not, they will just be another means to get product to market and will be just another label on the side of a box.

The next couple of years did indeed become a de-facto contest between these two ideas of gaming’s future. At first, the outreach camp could point to some notable successes on a scale similar to that of DOOM: The 7th Guest sold over 2 million copies, Myst sold an extraordinary 6 million or more. Yet the reality slowly dawned that most of those outside the traditional gaming demographic who purchased those games regarded them as little more than curiosities; most evidence would seem to indicate that they were never seriously played to a degree commensurate with their sales. Meanwhile the many similar titles which the industry rushed out in the wake of these success stories almost invariably became commercial disappointments.

The problems inherent in these multimedia-heavy “interactive movies” weren’t hard to see even at the time. In the same piece from which I quoted above, Alexander Antoniades noted that too many CD-ROM productions were “the equivalent of Pong games with captured video images of professional tennis players and CD-quality sounds of bouncing balls.” For various reasons — the limitations inherent in mixing and matching canned video clips; the core limitations of the software and hardware technology; perhaps simply a failure of imagination — the makers of too many of these extravaganzas never devised new modes of gameplay to complement their new modes of presentation. Instead they seemed to believe that the latter alone ought to be enough. Too often, these games fell back on rote set-piece puzzle-solving — an inherently niche activity even if done more creatively than we often saw in these games — for lack of any better ideas for making the “interactive” in interactive movies a reality. The proverbial everyday person firing up the computer-cum-stereo-cum-VCR at the end of a long workday wasn’t going to do so in order to watch a badly acted movie gated with frustrating logic puzzles.

While the multimedia came first with these productions, games of the DOOM school flipped that script. As the years went on and they too started to ship on the now-ubiquitous medium of CD-ROM, they too picked up cut scenes and spoken dialog, but they never suffered the identity crisis of their rivals; they knew that they were games first and foremost, and knew exactly what forms their interactivity should take. And most importantly from the point of view of the industry, these games sold. Post-1996 or so, high-concept interactive movies were out, as was most serious talk of outreach to new demographics. Visceral 3D action games were in, along with a doubling-down on the base.

To blame the industry’s retrenchment — its return to the demographically tried-and-true — entirely on DOOM is a stretch. Yet DOOM was a hugely important factor, standing as it did as a living proof of just how well the traditional core values of gaming could pay. The popularity of DOOM, combined with the exercise in diminishing commercial returns that interactive movies became, did much to push the industry down the path of retrenchment.

The minor tragedy in all this was not so much the end of interactive movies, given what intensely problematic endeavors they so clearly were, but rather that the latest games’ vision proved to be so circumscribed in terms of fiction, theme, and mechanics alike. By late in the decade, they had brought the boxed industry to a place of dismaying homogeneity; the values of the id boys had become the values of computer gaming writ large. Game fictions almost universally drew from the same shallow well of sci-fi action flicks and Dungeons & Dragons, with perhaps an occasional detour into military simulation. A shocking percentage of the new games being released fell into one of just two narrow gameplay genres: the first-person shooter and the real-time-strategy game.

These fictional and ludic genres are not, I hasten to note, illegitimate in themselves; I’ve enjoyed plenty of games in all of them. But one craves a little diversity, a more vibrant set of possibilities to choose from when wandering into one’s local software store. It would take a new outsider movement coupled with the rise of convenient digital distribution in the new millennium to finally make good on that early-1990s dream of making games for everyone. (How fitting that shaking loose the stranglehold of DOOM‘s progeny would require the exploitation of another alternative form of distribution, just as the id boys exploited the shareware model…)

The Murder Simulator

DOOM was mentioned occasionally in a vaguely disapproving way by mainstream media outlets immediately after its release, but largely escaped the ire of the politicians who were going after games like Night Trap and Mortal Kombat at the time; this was probably because its status as a computer rather than a console game led to its being played in bedrooms rather than living rooms, free from the prying eyes of concerned adults. It didn’t become the subject of a full-blown moral panic until weirdly late in its history.

On April 20, 1999, Eric Harris and Dylan Klebold, a pair of students at Columbine High School in the Colorado town of the same name, walked into their school armed to the teeth with knives, explosives, and automatic weapons. They proceeded to kill 13 students and teachers and to injure 24 more before turning their guns on themselves. The day after the massacre, an Internet gaming news site called Blue’s News posted a message that “several readers have written in reporting having seen televised news reports showing the DOOM logo on something visible through clear bags containing materials said to be related to the suspected shooters. There is no word yet of what connection anyone is drawing between these materials and this case.” The word would come soon enough.

It turned out that Harris and Klebold had been great devotees of the game, not only as players but as creators of their own levels. “It’s going to be just like DOOM,” wrote Harris in his diary just before the massacre. “I must not be sidetracked by my feelings of sympathy. I will force myself to believe that everyone is just a monster from DOOM.” He chose his prize shotgun because it looked like one found in the game. On the surveillance tapes that recorded the horror in real time, the weapons-festooned boys pranced and preened as if they were consciously imitating the game they loved so much. Weapons experts noted that they seemed to have adopted their approach to shooting from what worked in DOOM. (In this case, of course, that was a wonderful thing, in that it kept them from killing anywhere close to the number of people they might otherwise have with the armaments at their disposal.)

There followed a storm of controversy over videogame content, with DOOM and the genre it had spawned squarely at its center. Journalists turned their attention to the FPS subculture for the first time, and discovered that more recent games like Duke Nukem 3D — the Columbine shooters’ other favorite game, a creation of Scott Miller’s old Apogee Software, now trading under the name of 3D Realms — made DOOM‘s blood and gore look downright tame. Senator Joseph Lieberman, a longstanding critic of videogames, beat the drum for legislation, and the name of DOOM even crossed the lips of President Bill Clinton. “My hope,” he said, “[is] to persuade the nation’s top cultural producers to call a cease-fire in the virtual arms race, to stop the release of ultra-violent videogames such as DOOM. Several of the school gunmen murderously mimicked [it] down to the choice of weapons and apparel.”

When one digs into the subject, one can’t help but note how the early life stories of John Carmack and John Romero bear some eerie similarities with those of Eric Harris and Dylan Klebold. The two Johns as well were angry kids who found it hard to fit in with their peers, who engaged in petty crime and found solace in action movies, heavy-metal music, and computer games. Indeed, a big part of the appeal of DOOM for its most committed fans was the sense that it had been made by people just like them, people who were coming from the same place. What caused Harris and Klebold, alone among the millions like them, to exorcise their anger and aggression in such a horrifying way? It’s a question that we can’t begin to answer. We can only say that, unfair though it may be, perceptions of DOOM outside the insular subculture of FPS fandom must always bear the taint of its connection with a mass murder.

And yet the public controversy over DOOM and its progeny resulted in little concrete change in the end. Lieberman’s proposed legislation died on the vine after the industry fecklessly promised to do a better job with content warnings, and the newspaper pundits moved on to other outrages. Forget talk of free speech; there was too much money in these types of games for them to go away. Just ten months after Columbine, Activision released Soldier of Fortune, which made a selling point of dismembered bodies and screams of pain so realistic that one reviewer claimed they left his dog a nervous wreck cowering in a corner. After the requisite wave of condemnation, the mainstream media forgot about it too.

Violence in games didn’t begin with DOOM or even Wolfenstein 3D, but it was certainly amplified and glorified by those games and the subculture they wrought. While a player may very well run up a huge body count in, say, a classic arcade game or an old-school CRPG, the violence there is so abstract as to be little more than a game mechanic. But in DOOM — and even more so in the game that followed it — experiential violence is a core part of the appeal. One revels in killing not just because of the new high score or character experience level one gets out of it, but for the thrill of killing itself, as depicted in such a visceral, embodied way. This does strike me as a fundamental qualitative shift from most of the games that came before.

Yet it’s very difficult to have a reasonable discussion on said violence’s implications, simply because opinions have become so hardened on the subject. To express concern on any level is to invite association with the likes of Joe Lieberman, a politician with a knack for choosing the most reactionary, least informed position on every single issue, who apparently was never fortunate enough to have a social-science professor drill the fact that correlation isn’t causation into his head.

Make no mistake: the gamers who scoff at the politicians’ hand-wringing have a point. Harris and Klebold probably were drawn to games like DOOM and Duke Nukem 3D because they already had violent fantasies, rather than having said fantasies inculcated by the games they happened to play. In a best-case scenario, we can even imagine other potential mass murderers channeling their aggression into a game rather than taking it out on real people, in much the same way that easy access to pornography may be a cause of the dramatic decline in incidents of rape and sexual violence in most Western countries since the rise of the World Wide Web.

That said, I for one am also willing to entertain the notion that spending hours every day killing things in the most brutal, visceral manner imaginable inside an embodied virtual space may have some negative effects on some personalities. Something John Carmack said about the subject in a fairly recent interview strikes me as alarmingly fallacious:

In later games and later times, when games [came complete with] moral ambiguity or actual negativity about what you’re doing, I always felt good about the decision that in DOOM, you’re fighting demons. There’s no gray area here. It is black and white. You’re the good guys, they’re the bad guys, and everything that you’re doing to them is fully deserved.

In reality, though, the danger which games like DOOM may present, especially in the dismayingly polarized societies many of us live in in our current troubled times, is not that they ask us to revel in our moral ambiguity, much less our pure evil. It’s rather the way they’re able to convince us that the Others whom we’re killing “fully deserve” the violence we visit upon them because “they’re the bad guys.” (Recall those chilling words from Eric Harris’s diary, about convincing himself that his teachers and classmates are really just monsters…) This tendency is arguably less insidious when the bad guys in question are ridiculously over-the-top demons from Hell than when they’re soldiers who just happen to be wearing a different uniform, one which they may quite possibly have had no other choice but to don. Nevertheless, DOOM started something which games like the interminable Call of Duty franchise were only too happy to run with.

I personally would like to see less violence rather than more in games, all things being equal, and would like to see more games about building things up rather than tearing them down, fun though the latter can be on occasion. It strikes me that the disturbing association of some strands of gamer culture with some of the more hateful political movements of our times may not be entirely accidental, and that some of the root causes may stretch all the way back to DOOM — which is not to say that it’s wrong for any given individual to play DOOM or even Call of Duty. It’s only to say that the likes of GamersGate may be yet another weirdly attenuated part of DOOM‘s endlessly multi-faceted legacy.

Creative Destruction?

In other ways, though, the DOOM community actually was — and is — a community of creation rather than destruction. (I did say these narratives of DOOM wouldn’t be cut-and-dried, didn’t I?)

John Carmack, by his own account alone among the id boys, was inspired rather than dismayed by the modding scene that sprang up around Wolfenstein 3D — so much so that, rather than taking steps to make such things more difficult in DOOM, he did just the opposite: he separated the level data from the game engine much more completely than had been the case with Wolfenstein 3D, thus making it possible to distribute new DOOM levels completely legally, and released documentation of the WAD format in which the levels were stored on the same day that id released the game itself.

The origins of his generosity hearken back once again to this idea that the people who made DOOM weren’t so very different from the people who played it. One of Carmack’s formative experiences as a hacker was his exploration of Ultima II on his first Apple II. Carmack:

To go ahead and hack things to turn trees into chests or modify my gold or whatever… I loved that. The ability to go several steps further and release actual source code, make it easy to modify things, to let future generations get what I wished I had had a decade earlier—I think that’s been a really good thing. To this day I run into people all the time that say, whether it was Doom, or maybe even more so Quake later on, that that openness and that ability to get into the guts of things was what got them into the industry or into technology. A lot of people who are really significant people in significant places still have good things to say about that.

Carmack speaks of “a decade-long fight inside id about how open we should be with the technology and the modifiability.” The others questioned this commitment to what Carmack called “open gaming” more skeptically than ever when some companies started scooping up some of the thousands of fan-made levels, plopping them onto CDs, and selling them without paying a cent to id. But in the long run, the commitment to openness kept DOOM alive; rather than a mere computer game, it became a veritable cottage industry of its own. Plenty of people played literally nothing else for months or even years at a stretch.

The debate inside id raged more than ever in 1997, when Carmack insisted on releasing the complete original source code to DOOM. (He had done the same for the Wolfenstein 3D code two years before.) As he alludes above, the DOOM code became a touchstone for an up-and-coming generation of game programmers, even as many future game designers cut their teeth and made early names for themselves by creating custom levels to run within the engine. And, inevitably, the release of the source code led to a flurry of ports to every imaginable platform: “Everything that has a 32-bit [or better] processor has had DOOM run on it,” says Carmack with justifiable pride. Today you can play DOOM on digital cameras, printers, and even thermostats, and do so if you like in hobbyist-created levels that coax the engine into entirely new modes of play that the id boys never even began to conceive of.

This narrative of DOOM bears a distinct similarity to that of another community of creation with which I happen to be much better acquainted: the post-Infocom interactive-fiction community that arose at about the same time that the original DOOM was taking the world by storm. Like the DOOM people, the interactive-fiction people built upon a beloved company’s well-nigh timeless software engineering; like them, they eventually stretched that engine in all sorts of unanticipated directions, and are still doing it to this day. A comparison between the cerebral text adventures of Infocom and the frenetic shooters of id might seem incongruous at first blush, but there you are. Long may their separate communities of love and craft continue to thrive.

As you have doubtless gathered by now, the legacy of DOOM is a complicated one that’s almost uniquely resistant to simplification. Every statement has a qualifier; every yang has a yin. This can be frustrating for a writer; it’s in the nature of us as a breed to want straightforward causes and effects. The desire for them may lead one to make trends that were obscure at best to the people living through them seem more obvious than they really were. Therefore allow me to reiterate that the new gaming order which DOOM created wouldn’t become undeniable to everyone until fully three or four years after its release. A reader recently emailed me the argument that 1996 was actually the best year ever for adventure games, the genre which, according to some oversimplified histories, DOOM and games like it killed at a stroke — and darned if he didn’t make a pretty good case for it.

So, while I’m afraid I’ll never be much of a gibber and/or fragger, we should continue to have much to talk about. Onward, then, into the new order. I dare say that from the perspective of the boots on the ground it will continue to look much like the old one for quite some time to come. And after that? Well, we’ll take it as it comes. I won’t be mooting any more stopping dates.

(Sources: the books The Complete Wargames Handbook (2000 edition) by James F. Dunnigan, Masters of Doom by David Kushner, Game Engine Black Book: DOOM by Fabien Sanglard, Principles of Three-Dimensional Computer Animation by Michael O’Rourke, and Columbine by Dave Cullen; Retro Gamer 75; Game Developer of June 1994; Chris Kohler’s interview with John Carmack for Wired. And a special thanks to Alex Sarosi, a.k.a. Lt. Nitpicker, for his valuable email correspondence on the legacy of DOOM, as well as to Josh Martin for pointing out in a timely comment to the last article the delightful fact that DOOM can now be run on a thermostat.)

source http://reposts.ciathyza.com/the-shareware-scene-part-5-narratives-of-doom/

[lorrainecparker]

Why FCP X? – 360° POV 

VR, AR, XR, MR, 360.

Last year, I sat through a discussion on these topics at the Final Cut Pro X Creative Summit in Cupertino. I had some interesting reactions, most of which included the word “puzzled.” How were the cameras positioned? What sort of magic had to occur to edit 360 video? How can a viewer with so much freedom be directed to see what I want them to see? How do stories get told?

To me, filmmaking and editing are generally understandable. One thing is always true: The director and their team guide the viewer—sometimes forcefully, sometimes gently, sometimes away from what they want shown so as to mislead, set-up, surprise, or frighten. Editing extends that idea, guides the viewer, and helps them reach desired destinations.

I recently talked with Dipak Patel (Co-Founder and CEO), Adam Dubov (Chief Content Officer), Martin Christien (Director of Content Services), and Arlene Santos (Chief Operating Officer) from Zeality (Zeality.co).

I realized that I know nothing about their kind of filmmaking. Theirs is not filmmaking in the traditional sense; it’s not a new version of an old paradigm. Theirs is an invention, a brand-new creation.

We are sometimes on extremely tight schedules and things can get a little hectic…the nature of Final Cut Pro X keeps the chaos in line. – Martin Christien

Mike: Zeality—where is the company now and where is it going?

Dipak We are on the frontier with VR, AR, 360, and we look at this time like the dawning-of-a-new-age of filmmaking. The language of this kind of storytelling is just being invented. Where we are now with 360/VR filmmaking is akin to where we were in the early 1900s when film language was being invented. The stories that we are telling now are about as simple as the stories they were telling then. We have a rare opportunity in exploring every single phase of this kind of production. We are working to define what the exact experience is: What do we do from the technology and financial perspectives? What do we do from a creation and art perspective?

We chose sports to begin with because they are highly community driven, highly engaging, and topical. They are exciting and constantly changing. Sports is not just stats and scores: It is stories. It is life.

Mike: It sure is. I am from Green Bay, Wisconsin, and that town lives and dies by the Green Bay Packers. You can see the same passion any time you watch a football match in Europe or Mexico—the crowds are incredibly engaged and emotionally invested.

Dipak: That is true, although we are seeing that the population of sports fans is aging. For example, the average age for a baseball fan is 55—for NASCAR, older than that.

They have to figure out new ways to engage younger audiences and a more diverse set of audiences—whether demographically or geographically. The goals for all of our clients are to provide new ways to connect with fans. They are all trying to drive a deeper experience and ultimately find new models to convert new interactive capabilities into revenue.

So how do we extend that reach? How do we pull people in? How do we create interaction models that create lifetime-value for customers and fans?

We start with the experiential side—not just AR, VR or 360 photo video—because it may not be 360 photo or video. It may be some other really cool whiz-bang experiential kind of system.

Mike: So you are saying this might be a stepping-stone to the next thing?

Dipak: That’s right. There are requirements that are emerging almost real-time while we are iterating,  and those requirements are emerging when we are actually in the field, doing the thing.

In the future, people won’t just watch video… they will interact with it. – Dipak Patel

Mike: I can relate to what you are saying about being there and watching it unfold as you are doing it. It is a journey of discovery.

I was on the first major feature film to be cut on Final Cut Pro X, and the pushback was substantial from everybody, other than the people who wanted to do it. The cries—“We haven’t done it this way before! This is impossible!”—were part of the conversation. We just made our best guesses, which sounds like what you guys are doing. You have your base knowledge and you are making your best guesses, knowing that the best guesses may not work out, or they may just lead to the answer, or an answer—until another best guess comes along.

Dipak: Yes. There are two sides of this experimentation phase of the industry. One side is financial: the investors in VR. The other side is creative:  the filmmakers and directors who are constantly trying new techniques in VR filmmaking. They have to co-exist.

Martin Christien and Adam Dubov frame up at the SAP Center

Mike: Why did Zeality choose Final Cut Pro X?

Martin: Aside from ease of use? Here’s my top three reasons…

Metadata tagging

GPU acceleration

Dashwood Plug-ins (Still stunned that they are free!)

One big challenge is simply staying organized over the long run. In the beginning, there are beautiful file structures, a folder for this, a folder for that. And then during the last days of editing, all of the file structures kind of go to crap. You just start chucking files anywhere, thinking you will remember to move it later. A platform—hardware or software that avoids that is always welcome.

Final Cut Pro X and its metadata, tagging, and automation features allow for a bit of sloppiness while still keeps basic organization in place. Of course, you need to have the discipline to set a good base, but that’s true with any NLE. Because we are sometimes on extremely tight schedules things can get a little frantic and our normal workflow turns into a flurry of activity. Fortunately, the nature of Final Cut Pro X keeps the chaos in line.

Graphics acceleration is a place Final Cut Pro X excels. It is, in fact, better than any other editing platform at utilizing the onboard AMD GPUs for normal functions such as scrubbing the timeline, playback, and rendering effects, but I have found it most impressive when adjusting a masked color grade. A lot of platforms struggle to render functions like that on the fly at higher resolutions, but Final Cut Pro X does it with ease.

The Dashwood plug-ins I use most often are the “Project 2D on Sphere” to correct the distortion on any 2D graphic I edit into the timeline. Then the “Re-orient Sphere” effect can adjust the X, Y, and Z axes to level up a shot or rotate the zero position (the starting direction of the viewer’s head). We are very excited about the upcoming version of Final Cut Pro X that Apple previewed at WWDC. While the Dashwood plug-ins are great, we’re eager for 360 features to be built into the app.

In 360, directing is more critical than ever.  It’s just a lot more subtle. – Adam Dubov

Mike: Let’s run through your workflow. Start from the start.

Martin: We use Auto-Stitch cameras to eliminate the stitching process so that the content can be turned around faster to meet the deadline requirements of a sports media workflow. The camera we worked with most was the Nikon KeyMission360, although since then I have had some experience with the Garmin Virb and believe that to be best on the market at the moment.

San Jose Sharks locker room

I ingest everything into our central storage system whilst simultaneously backing up to a raw media archive and an edit backup that mirrors the edit file structure. Our main central storage is the G-Technology G-Rack12 and G-Speed Shuttle XL.

Aubri Brown Club timeline

Mike: Are your editing station(s) hooked in to that storage too?

Martin: Generally, yes. Our New Mac Pro and 15″ MacBook Pro connect via Thunderbolt 2 and 10Gig Ethernet, but we’re always switching things up.

I go through all the footage, log all the shots, check for errors, and flag any shots that need color or brightness smoothing on one of the cameras if they were blown out by lights.

Mike: This is in Final Cut Pro X? If so, what specific features help you with this and how?

Martin: Yes, Final Cut Pro X. All the flagged shots that need fixing get a feathered mask applied to them so that brightness and contrast can be brought into line so both cameras match. I use native controls in Final Cut Pro X to draw a mask over the area that I need to adjust much like you would on a still image. Final Cut Pro X is very effective with this because of the way it utilizes the GPU, so you don’t have to wait to render or compromise on quality by playing something at lower resolution or reduced frame rate. Also, we are able to edit with full-res files directly on the timeline, which speeds things up rather than having to do an offline and re-conform later. When it is time for final color grade, we do a standard one-light color adjustment once we have signed off the content edit. We try not to mess around with the color grade too much so as to create a more real-world environment.

Mike: How is sound handled?

Martin: The cameras don’t pick up the best audio, so when we need focused audio recording. We use hardware with a small footprint like the Zoom H2N recorder.

During editing, we use standard controls, key-framing volume levels, etc. It rarely gets complicated. Most of the content we create is cut to music but we always try to mix in atmospheric sounds. Being an immersive media, even subtle atmospheric audio helps the viewer relax into the content.

Mike: So you deliver final picture from Final Cut Pro X?

Martin: Yes. For reviews we will output then upload to our platform on a private and secure channel. Our clients can view easily on our web player or on a mobile device. Then, upon approval, we deliver everything via our client’s preferred FTP provider.

Dashwood plug-ins at work

Mike: Let’s get into the creative, the story-telling. This is not the narrative stuff people are used to looking at.

Martin: People ask, “How do we tell stories?”

We’ve got to figure out how a new story gets told. It is a brand new way of thinking. It is not a new version of something else.

I think that is what we stepped into first. When we were shooting, we went in there thinking, We are going to tell this, and we are going to tell that. We thought, Yeah, this is the story. Before we ended up getting there, we had to simplify what we are doing. Go back to the beginning and learn storytelling in this new medium. The first few bits that we did ended up just gathering environments.

Adam Dubov with an eye on #28

Adam: I found myself having to unlearn a lot of habits from 2D linear filmmaking. For example, I remember shooting some stuff with the 49ers on the sidelines of players getting ready, practicing before a game, and throwing passes to each other. I remember subtly turning the monopod back and forth, something I would do with a still camera, like a tennis match, in this case two guys throwing the ball. Then realizing, I don’t have to do that. In fact this is going to look really weird. In fact this is going to be unusable!

We are very young in terms of narrative storytelling this way. Ultimately I think the appeal of immersive content and immersive media in general is really the opportunity to present the viewer with a chance to be present versus the kind of leaned-back subjective viewpoint that people have when they’re looking at a television or movie screen. They also have some sense of agency and participation because they are able to navigate that image, that environment, that sphere.

In the context of that, we are always trying to discover any tool, technology or software, that helps us through the process of making immersive media, 360 camera, 360 video and VR. Auto-stitch cameras and Final Cut Pro X are examples of those tools.

Mike: In traditional filmmaking you are directing. Traditional storytelling goes back to ancient Greeks, when they figured out how to effectively tell a story. It sounds like you are giving the opportunity to the viewer to create a story. But you still have to give them something story-worthy. How much do you guys direct what you want the story to be? There’s so much opportunity for the viewer’s attention to go, perhaps, where you don’t want it to go.

Adam: What is interesting to me, in coming from a linear TV and film storytelling background, there’s a tendency with people today with 360 cameras to think, Oh! You’re not directing at all. And, in fact, there are a lot of people who just think, Okay. We’ll just put on a monopod. Turn it on. Get the hell out of the way. That’s abdicating the role of the director in a traditional sense.

One challenge is the fact that the lenses are so wide angle—combinations of fisheye lenses and things get small very quickly and as they recede from the camera. Directing the viewer’s eyes becomes more challenging. In 360, directing is more critical than ever. It’s just a lot more subtle.

Martin: Also, we started experimenting with tools that we can use in post-production like key- framing a rotation of the sphere. Not to force the viewer’s eye, but just gently putting a finger on the chin to say — “just look over here, what’s happening here?” We try to guide attention without screaming, “look over there!!” The viewer must be allowed to explore and look around with minimal encouragement.

One of the tools that Zeailty has put together is RE/LIVE which records your view around the 360. While at the same time, recording the reverse cameras. It’s a tool for reactions — it’s interesting watching people’s Re/Lives. They help us figure out where our viewers are looking. With some people the first thing they did was look at the ground. “Oh look, my feet!” or “look, something in the sky!” That disappears very quickly and then we see exploration — are you looking at what’s moving faster through the frame, or slower. It is very useful for us to watch back people’s re-lives and discover what is holding their attention and what would be a good place to draw the eye, where to gently direct their focus.

Adam Dubov at the SAP Center

Mike: So when you look at this information, and you are editing something together, do you think it takes longer because you have to figure that stuff out?

Martin: That’s a tough one. When it comes to editing this type of content, Adam and I work side-by-side.  I’m the one in the editor’s chair, and Adam is producing. We work out “content bullet points” together. We do some of the directing in post-production, and that can be more time consuming.

If we can understand what the viewer is looking at, we can figure out where to better place the camera. Ultimately, we are trying to take you somewhere that you have not been before—maybe inside a locker room or behind the bench of the San Jose Sharks or on the field with the 49ers. We are always learning more about where the viewers may want to go, and we try to get them there.

Mike: What techniques and technologies are you excited about?

Dipak: Anything that turns 360 photos and videos into interactive canvases!

One is a scavenger hunt game around 360 photo and video that we are working on. It allows customers to create a game around their 360 media. It’s a sponsored game looking for labels, things, Coke bottles, mascots, etc. that is overlaid across prebuilt content. The first team to deploy this is the San Jose Sharks. The winner gets a Zamboni ride! Also, our Re/Lives, which allows users to create a reaction video of a 360 video to share a unique point of view.

Mike: Who is doing interesting and exciting 360 VR work these days?

Dipak: There is so much great work that is being done by the early adopters. We all are paving the way for the future of immersive media. In particular, Gabo Arora, for his empathic and deep storytelling, and Scott Kegley, who works with the Minnesota Vikings, for his amazingly quick turnaround workflow. The community is so willing to share and exchange ideas around what’s working or not.

Mike: What are your favorite ways to view 360?

Dipak: I personally enjoy experiencing 360 media on my iPad as it provides a nice big screen to explore. I also like to have my content be part of a richer user experience, which allows me to interact with the media more than simply “looking around.”

Mike: So we have this new world. What is the future of 360 video?

Dipak:  The future is tied to the overall awareness and adoption of the media format. As social networks deploy 360 photos and videos to their applications, it will become more pervasive over time. We realize there is an adoption curve that is tied to the ability for fresh new content to be delivered through the social channels. In the future, people are not going to watch content; they will experience it. They will not watch stories. They will experience them. They will interact with them.

LINKS

https://www.oculus.com/experiences/gear-vr/1462012723846452/

San Jose Sharks Become First NHL Team To Launch Oculus VR App

The Aubri Brown Club

http://sanfrancisco.giants.mlb.com/mobile/ballpark/index.jsp?c_id=sf

https://www.nhl.com/sharks/multimedia/mobile-app

Scott Kegley from Minnesota Vikings on Vine, Snapchat & LOUD fans

http://vrdays.co/people/gabo-arora/

The post Why FCP X? – 360° POV  appeared first on ProVideo Coalition.

First Found At: Why FCP X? – 360° POV 

[instantlydeepestmoon]

3D Praxis Studio

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It really is vital to heighten the awareness of what 3 D can do to get the growth of a business. In 3d architectural your project can be easily presented by you /product in a turpitude or even more appealing form then provides you an advantage over mediums that are old. 3D photograph renderings that are real play leading role in real estate sales. Prospective customers repose on the last merchandise, so as a way to sell its bes to present it sensibly through animation, 3 d rendering or walk-throughs are projected by you. Lighting - is a vital aspect in making it seem realistic, of scene setup, that is the procedure where you create lightning resources to shadows, shade, your surroundings and refections. Lighting effects can be a hard art to to perfect and can contribute greatly to the mood and emotional reaction effected by a scene. 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Textures can be repeated horizontally and vertically across an area (with our without a degree of rotation), a method used extensively for modeling surfaces like brick partitions, grass, roads, fences, etc. It may be implemented in two techniques: either the texture replaces whatever colour is already inherant to the polygon, or the texture color is combined together with the surface and colour properties of the polygon Rendering essentially refers to preparing and presenting a suggested design of a building structure in order for the person who's responsible for assembling the building can easily approve the layout. The presentation of the design may be carried out for a commercial too as residential Architectural Visualization unit. In old days, the architects and designers would draft a created by just making outline sketches of the assorted elements of the building using specs or their dimension. 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So, using a wide selection of different creating supplies, after making the necessary adjustment, you're able to eventually see what the development will in truth look like. In order to create precision, 3D renderings, use topographical surveys and site programs as reference factors. For visual representation function, real slab heights and roof lines might be produced with this particular advice. Also, 3D renderings can be utilized with the objective of promotion and sales. Adding a higher level of aesthetic depth to the architectural renderings, including people on the balconies, cars in the driveways and landscaped gardens etc. does this This traits will help produce strong selling visuals that encourage confidence and desired in potential buyers. The 3D architectural renderings can be certainly regarded as an affordable solution. Before, it was difficult to expect the output depending on your style after which to communicate the hues of colors and also the exact designs to the architect. Now, with architectural rendering, it has now become possible to give expression to your theme that you always dreamt of. Through different combinations of architectural rendering techniques on the monitor, now it really is possible to give realistic contours to your visual presentation predicated on what you need in a creating. You may get a clear idea in the event the ultimate output matches together with your genuine condition, once you see the ultimate graphic. If needed, you may possibly also make the necessary changes. The 3D computer architectural rendering service integrates powerful conceptual tools to the design procedure that is mandatory. With 3 D architectural rendering service, one show roads, landscaping, area, demanded atmosphere as well as multiple design options may be Architectural Visualization Studio investigated and worked out prior to the particular construction starts. Thus, a, a specified building plan can be readily customized by a computer rendering predicated on specific client requirements, substantially before the authentic building occur in reality.Praxis Studio's Facebook Page

[edwardmoorthy]

While Linux struggles to reach even a 3% market share, Linux games continue to grow. Thanks to Valve for bringing Steam, we are now seeing an influx of AAA games to our favorite platform. However, having so many games has reduced visibility on many good, free, and open source games.

We have a nice collection of 10 free and open source games for Linux that has most addictive, fun, and refined games. All the games in our list have received updates within the last year and supports multiple platforms including Windows. In addition, the games belong to many genres including strategy, simulation, and shooters.

Without further ado, here is the list of open source games in no particular order.

1. 0 A.D.

0 A.D. (pronounced “zero ey-dee”) is a free, open-source, cross-platform historical real-time strategy (RTS) game of ancient warfare that is set between the years 500 BC to 500 AD. This game is originally intended to be a modification to Microsoft’s popular Age of Empires II, which explains the similar look and feel to the gameplay. It really is a very high quality open source project that has successfully built a huge community around it.

The project is highly ambitious, involving state-of-the-art 3D graphics, detailed artwork, sound, and a flexible and powerful custom-built game engine. Not only are the graphics impressive, but the game also tries to be as historically accurate as possible, filling you in on ancient history as you go.

Currently, the game has 9 civilizations with their own buildings, units and special technology. Moreover, the developers have promised to add more civilizations in future expansion packs including the Germanics, Vandals, Sarmatians, Late Rome, Imperial Rome, Eastern Rome (Early Byzantines), Saxons, Parthians, Huns, Dacians, and the Goths.

If you are a fan of RTS games like Age of Empires, then you must try this game. The game is still in development, but the alpha releases of 0 A.D are more stable to play. This ambitious project is certainly worth keeping a close eye on.

0 A.D.

0 A.D.

0 A.D.

Download: https://play0ad.com/download/

2. OpenTTD

OpenTTD is an open source simulation game based upon the popular Microprose game “Transport Tycoon Deluxe”, by Chris Sawyer. The game tries to mimic the original game as closely as possible while extending it with new features that enhances the game experience dramatically.

In this game, you start as an entrepreneur, and your goal is to make as much profit as possible by transporting passengers and various goods by road, rail, sea, and air. The game also supports multiplayer mode for up to 255 players in 15 companies, or as spectators. It also has tons of mods that brings new AI, graphics, vehicles, industries and more.

People who are new to the franchise may be turned down by all the 2D sprite graphics. However, looks are not everything. The gameplay is fun, addictive and eats your free time like nothing. This is one of the best transport tycoon game out there (better than anything you will find on Steam or elsewhere) and it is free.

OpenTTD

OpenTTD

Download: https://www.openttd.org/en/download-stable

3. Battle of Wesnoth

The Battle for Wesnoth is a free, turn-based tactical strategy game with a high fantasy theme, featuring both single-player, and online multiplayer combat. The game features a large assortment of maps, classes, units, and campaigns. Community add-ons are available in-game for download, and it also has a random map generator.

Set in a fantasy world with 16 races and 6 factions, the game has over 200 units with different types of weapons and abilities. The current stable version of Battle for Wesnoth has 16 campaigns. The game also supports online play for you to challenge up to 8 of your friends.

Battle Of Wesnoth

Battle Of Wesnoth

Battle Of Wesnoth

Battle Of Wesnoth

Battle Of Wesnoth

Download: https://wiki.wesnoth.org/Download

4. OpenRA

Another RTS game, but this time focused on modern/futuristic combat. OpenRA tries to modernize and recreate the original Command and Conquer games — mostly the first C&C Red Alert game.

The game brings new features and gameplay improvements, support for online multiplayer and comes bundled with three distinct mods. When you run a mod for the first time the game can automatically download the original game assets, or you can use the original game disks.

Currently OpenRA comes includes mods that add the following C&C games — Tiberian Dawn, Red Alert, Dune 2000. Although the game has mods for Tiberian Sun and Red Alert 2, they are not completed and the developers are planning to include them in future releases.

OpenRA

OpenRA

Download: http://www.openra.net/download/

5. Minetest

Minetest is an open source alternative to Minecraft with similar gameplay. You can create and remove various types of blocks in a 3D open world.  Minetest supports single player and multiplayer games. Minetest also includes many features, such as support for mods, texture packs, and more.

Minetest

Minetest

Minetest

Minetest

Download: http://www.minetest.net/downloads/

6. SuperTuxKart

SuperTuxKart is an arcade racer with a variety characters, tracks, and modes to play that is similar to Mario Kart. You can play with up to 4 friends on one PC, racing against each other or just try to beat the computer.

A major update for SuperTuxKart was its 0.9 release in April 2015. This release includes an entirely new graphics renderer dubbed Antarctica, which enabled better graphics appearance and features such as dynamic lighting, ambient occlusion, depth of field, global illumination, and more.

All the official characters in game are the mascots of free and open source projects, except for Nolok, who does not represent a particular open source project, but was created by the SuperTux Game Team as the enemy of Tux. There are also other characters that can be downloaded as add-ons from the SuperTuxKart add-ons website.

Recently, the game got greenlit in Steam and will soon be available for download.

SuperTuxKart

SuperTuxKart

SuperTuxKart

  Download: https://supertuxkart.net/Download

7. Xonotic

Based on the now dead Nexuiz, Xonotic is the gem that shines in the most overcrowded category in Linux gaming. It features all the good vulgar gameplay characteristics of Nexuiz, while trying to evolve into something even greater and more modern.

This addictive, arena-style first person shooter offers crisp movement and a wide array of weapons. Currently, Xonotic offers all the classic game modes found on most FPS games and also includes some more unique in nature. The gameplay is damn fast and intense. Speed and precision are the main principles of the good Xonotic player.

The game has its own integrated player statistics application, XonStat, using which you can track your progress, see vital stats like your kill:death ratio, weapon damage and accuracy, and recent games. Tracking is completely opt-in, and no login is required. In addition, you can even edit the information on your screen to what you are used to with our easy to use HUD editor.

Xonotic

Xonotic

Xonotic

  Download: http://www.xonotic.org/download/

8. Alien Arena

Alien Arena (initially CodeRED: Alien Arena) is a free, stand-alone first-person shooter computer game. The game combines a 1950s-era sci-fi atmosphere with gameplay similar to the Quake, Doom, and Unreal Tournament series. Alien Arena focuses mainly on online multiplayer action, although it does contain single-player matches.

The game features an internal server browser for finding other players online, and has a built-in IRC client for chat between players. The game uses modified Quake II physics. Most Quake II trick jumps, such as strafe jumping, will work in Alien Arena. However, dodging, which is not found in Quake II, has also been added to the game.

Alien Arena

Alien Arena

Alien Arena

  Download: http://red.planetarena.org/aquire.html

9. Warsow

Set in a futuristic cartoonish world, Warsow is a completely free fast-paced first-person shooter (FPS) set in a futuristic cartoonish world where rocket launcher-wielding pigs and laser gun-carrying cyberpunks roam the streets.

The game is a unique FPS in that there is no gore. Warsow has no blood or guts flying around. Red stars instead of blood indicate hits and colored cubes replace guts as gib effects.

The game is very competitive and aims to provide adrenaline rushing multi-player fun. Some of the movement physics and certain running-modes implementation have greatly affected other games of the kind. Warsow is a very well-made game and a truly unique arena shooter!

Warsow

Warsow

Warsow

Warsow

Warsow

  Download: https://www.warsow.net/download

10. FreeCiv

Freeciv is the Free and Open Source turn-based strategy game. It is a remake of the most addictive and critically acclaimed Civilization series, which is inspired by the history of human civilization.

Freeciv supports multiplayer gameplay with up to 126 players. It has over 50 playable units and 550 nations and support modding — allowing you create your own nation sets, rule sets, tile sets, and so on.

A map and scenario editor called Civworld is also available as a download. This is one game we will still be playing in 20 years’ time.

Freeciv

Freeciv

Freeciv

Freeciv

Download: http://www.freeciv.org/download.html

10 Best Free And Open Source Games For Linux

While Linux struggles to reach even a 3% market share, Linux games continue to grow. Thanks to Valve for bringing Steam, we are now seeing an influx of AAA games to our favorite platform.

10 Best Free And Open Source Games For Linux

While Linux struggles to reach even a 3% market share, Linux games continue to grow. Thanks to Valve for bringing Steam, we are now seeing an influx of AAA games to our favorite platform.

10 Best Free And Open Source Games For Linux While Linux struggles to reach even a 3% market share, Linux games continue to grow. Thanks to Valve for bringing Steam, we are now seeing an influx of AAA games to our favorite platform.

[omggadgets]

While Linux struggles to reach even a 3% market share, Linux games continue to grow. Thanks to Valve for bringing Steam, we are now seeing an influx of AAA games to our favorite platform. However, having so many games has reduced visibility on many good, free, and open source games.

We have a nice collection of 10 free and open source games for Linux that has most addictive, fun, and refined games. All the games in our list have received updates within the last year and supports multiple platforms including Windows. In addition, the games belong to many genres including strategy, simulation, and shooters.

Without further ado, here is the list of open source games in no particular order.

1. 0 A.D.

0 A.D. (pronounced “zero ey-dee”) is a free, open-source, cross-platform historical real-time strategy (RTS) game of ancient warfare that is set between the years 500 BC to 500 AD. This game is originally intended to be a modification to Microsoft’s popular Age of Empires II, which explains the similar look and feel to the gameplay. It really is a very high quality open source project that has successfully built a huge community around it.

The project is highly ambitious, involving state-of-the-art 3D graphics, detailed artwork, sound, and a flexible and powerful custom-built game engine. Not only are the graphics impressive, but the game also tries to be as historically accurate as possible, filling you in on ancient history as you go.

Currently, the game has 9 civilizations with their own buildings, units and special technology. Moreover, the developers have promised to add more civilizations in future expansion packs including the Germanics, Vandals, Sarmatians, Late Rome, Imperial Rome, Eastern Rome (Early Byzantines), Saxons, Parthians, Huns, Dacians, and the Goths.

If you are a fan of RTS games like Age of Empires, then you must try this game. The game is still in development, but the alpha releases of 0 A.D are more stable to play. This ambitious project is certainly worth keeping a close eye on.

0 A.D.

0 A.D.

0 A.D.

Download: https://play0ad.com/download/

2. OpenTTD

OpenTTD is an open source simulation game based upon the popular Microprose game “Transport Tycoon Deluxe”, by Chris Sawyer. The game tries to mimic the original game as closely as possible while extending it with new features that enhances the game experience dramatically.

In this game, you start as an entrepreneur, and your goal is to make as much profit as possible by transporting passengers and various goods by road, rail, sea, and air. The game also supports multiplayer mode for up to 255 players in 15 companies, or as spectators. It also has tons of mods that brings new AI, graphics, vehicles, industries and more.

People who are new to the franchise may be turned down by all the 2D sprite graphics. However, looks are not everything. The gameplay is fun, addictive and eats your free time like nothing. This is one of the best transport tycoon game out there (better than anything you will find on Steam or elsewhere) and it is free.

OpenTTD

OpenTTD

Download: https://www.openttd.org/en/download-stable

3. Battle of Wesnoth

The Battle for Wesnoth is a free, turn-based tactical strategy game with a high fantasy theme, featuring both single-player, and online multiplayer combat. The game features a large assortment of maps, classes, units, and campaigns. Community add-ons are available in-game for download, and it also has a random map generator.

Set in a fantasy world with 16 races and 6 factions, the game has over 200 units with different types of weapons and abilities. The current stable version of Battle for Wesnoth has 16 campaigns. The game also supports online play for you to challenge up to 8 of your friends.

Battle Of Wesnoth

Battle Of Wesnoth

Battle Of Wesnoth

Battle Of Wesnoth

Battle Of Wesnoth

Download: https://wiki.wesnoth.org/Download

4. OpenRA

Another RTS game, but this time focused on modern/futuristic combat. OpenRA tries to modernize and recreate the original Command and Conquer games — mostly the first C&C Red Alert game.

The game brings new features and gameplay improvements, support for online multiplayer and comes bundled with three distinct mods. When you run a mod for the first time the game can automatically download the original game assets, or you can use the original game disks.

Currently OpenRA comes includes mods that add the following C&C games — Tiberian Dawn, Red Alert, Dune 2000. Although the game has mods for Tiberian Sun and Red Alert 2, they are not completed and the developers are planning to include them in future releases.

OpenRA

OpenRA

Download: http://www.openra.net/download/

5. Minetest

Minetest is an open source alternative to Minecraft with similar gameplay. You can create and remove various types of blocks in a 3D open world.  Minetest supports single player and multiplayer games. Minetest also includes many features, such as support for mods, texture packs, and more.

Minetest

Minetest

Minetest

Minetest

Download: http://www.minetest.net/downloads/

6. SuperTuxKart

SuperTuxKart is an arcade racer with a variety characters, tracks, and modes to play that is similar to Mario Kart. You can play with up to 4 friends on one PC, racing against each other or just try to beat the computer.

A major update for SuperTuxKart was its 0.9 release in April 2015. This release includes an entirely new graphics renderer dubbed Antarctica, which enabled better graphics appearance and features such as dynamic lighting, ambient occlusion, depth of field, global illumination, and more.

All the official characters in game are the mascots of free and open source projects, except for Nolok, who does not represent a particular open source project, but was created by the SuperTux Game Team as the enemy of Tux. There are also other characters that can be downloaded as add-ons from the SuperTuxKart add-ons website.

Recently, the game got greenlit in Steam and will soon be available for download.

SuperTuxKart

SuperTuxKart

SuperTuxKart

  Download: https://supertuxkart.net/Download

7. Xonotic

Based on the now dead Nexuiz, Xonotic is the gem that shines in the most overcrowded category in Linux gaming. It features all the good vulgar gameplay characteristics of Nexuiz, while trying to evolve into something even greater and more modern.

This addictive, arena-style first person shooter offers crisp movement and a wide array of weapons. Currently, Xonotic offers all the classic game modes found on most FPS games and also includes some more unique in nature. The gameplay is damn fast and intense. Speed and precision are the main principles of the good Xonotic player.

The game has its own integrated player statistics application, XonStat, using which you can track your progress, see vital stats like your kill:death ratio, weapon damage and accuracy, and recent games. Tracking is completely opt-in, and no login is required. In addition, you can even edit the information on your screen to what you are used to with our easy to use HUD editor.

Xonotic

Xonotic

Xonotic

  Download: http://www.xonotic.org/download/

8. Alien Arena

Alien Arena (initially CodeRED: Alien Arena) is a free, stand-alone first-person shooter computer game. The game combines a 1950s-era sci-fi atmosphere with gameplay similar to the Quake, Doom, and Unreal Tournament series. Alien Arena focuses mainly on online multiplayer action, although it does contain single-player matches.

The game features an internal server browser for finding other players online, and has a built-in IRC client for chat between players. The game uses modified Quake II physics. Most Quake II trick jumps, such as strafe jumping, will work in Alien Arena. However, dodging, which is not found in Quake II, has also been added to the game.

Alien Arena

Alien Arena

Alien Arena

  Download: http://red.planetarena.org/aquire.html

9. Warsow

Set in a futuristic cartoonish world, Warsow is a completely free fast-paced first-person shooter (FPS) set in a futuristic cartoonish world where rocket launcher-wielding pigs and laser gun-carrying cyberpunks roam the streets.

The game is a unique FPS in that there is no gore. Warsow has no blood or guts flying around. Red stars instead of blood indicate hits and colored cubes replace guts as gib effects.

The game is very competitive and aims to provide adrenaline rushing multi-player fun. Some of the movement physics and certain running-modes implementation have greatly affected other games of the kind. Warsow is a very well-made game and a truly unique arena shooter!

Warsow

Warsow

Warsow

Warsow

Warsow

  Download: https://www.warsow.net/download

10. FreeCiv

Freeciv is the Free and Open Source turn-based strategy game. It is a remake of the most addictive and critically acclaimed Civilization series, which is inspired by the history of human civilization.

Freeciv supports multiplayer gameplay with up to 126 players. It has over 50 playable units and 550 nations and support modding — allowing you create your own nation sets, rule sets, tile sets, and so on.

A map and scenario editor called Civworld is also available as a download. This is one game we will still be playing in 20 years’ time.

Freeciv

Freeciv

Freeciv

Freeciv

Download: http://www.freeciv.org/download.html

10 Best Free And Open Source Games For Linux While Linux struggles to reach even a 3% market share, Linux games continue to grow. Thanks to Valve for bringing Steam, we are now seeing an influx of AAA games to our favorite platform.