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Re: Actually Doing Something About the Great Paleoart Ripoff
Yes, It would be nice to use my skills for good instead of evil once in a
while. I'd love to work with many of you on doing reconstructions with all the
software, illustration and animation skills that myself (and David Mass) have
at our disposal. I understand museum and institutional budgets and I'd work
within those limits. In the world of animation we need to play nice with
others and be collaborative and take direction, be it from other artists, cigar
chomping execs or scientists. Many of us are hungry to help out the field that
got us into the jobs we are at now. You know, the jobs that allow us to roll
in tons of cold hard cash ;-)...ouch, the papercuts.
Myself, and David ( if I can speak for him as well) would like to give back.
I don't like being perceived as someone exploiting your field, or as a
necessary evil to communicate with the dumbed down public.
I want to learn more.
On Mar 14, 2011, at 9:27 AM, david maas wrote:
> In the hope that the current discussion doesn't bypass the positive outlook
> aspects, I'd like to formulate my thoughts as to what opportunities are now
> at hand - and how these might be incorporated into a artist management
>> 3D skeletal reconstructions...
> 2D reconstructions really are artistic, as anyone working with a 3D dataset
> will know. There is so much knowledge necessary in putting one together
> because so much data is simply not present in the silhouette bone reductions.
> At the same time 3D software is becoming widely available at little to no
> The questions Greg Paul raises will be revisited in spades once the
> collaborate efforts behind such 3D reconstructions become more common... from
> preparation, scanning and data clean-up to articulation and - why not -
> biomechanical rotational limits, walk cycles, animations, differentiated
> perhaps between scientific consulting and actual modeling, data manipulation.
> Who owns what and gets remunerated for which efforts? Technically, it would
> be possible to accompany all of these steps with accreditation, so the final
> data set is tagged with meta data of all the participants along the way.
> Producer X - who wants a visualization of dinosaur B - can then select from
> the library. Perhaps there are 12 illustrations and 2 animations that have
> been created based off of three different 3D skeletals from 2 scientific
> hypothesis and these data sets can be licensed, all the way back to the folk
> who dug up the fossils.
> The transparency of process would in and of itself be an outreach project for
> science methodology!
> Interestingly, SACD has a not too distant model for artists working on public
> entertainment in France... an entire crew of creatives gets remunerated based
> on a mathematical model of participation on the final project. Many amounts
> are fairly trivial as you can imagine, but they are proportionate to
> someone's assessment of participation. Here we have further issues such as
> which parts of the pipeline have alternative funding, ie. grants, etc.
>> data archival
> One of the biggest challenges in the digital processes are data formats and
> protocol-ling. How can the stl's, obj's and endless other formats be tagged
> with metadata in a reliable manner? How can the longevity of data formats be
> secured? How can access and transparency be optimized?
> I'm a media and animation guy. The energy that has drawn me to paleoart is
> found in the collectors around Baden-Wuerttemberg who beat on stone every
> weekend, the tirelessly authored blogs such as darren naish's, svpow and many
> others, in the OpenDinosaur public participation models and the opportunity
> to pass on my fascination for the crazy things that you educated folk can
> deduce from bits of rock and to do so in a manner that pinpoints where I feel
> that fascination should be targeted. It would be a shame to overlook all that
> and the opportunities that now face us.