![\"GirlOnFireCapture\"](\"http:\/\/artistedancediva.co.uk\/wp\/wp-content\/uploads\/2016\/06\/GirlOnFireCapture.png\")
<\/a><\/p>\nHi Everyone,<\/p>\n
How are you all doing? \u00a0I’m very well thanks.<\/p>\n
The reason I\u00a0post this is to comment on the recent performance and the making of the Girl On Fire video that will be linked in this brief summary and edited by\u00a0Lat.<\/p>\n
Ffirst, the making of the routine was a lot of fun.\u00a0The hat-throw itself was an SL dance at first, not from the adorn point-of-view but the throw itself.\u00a0\u00a0Lat (Yummy) has done it before for the demo videos for everyone to learn from.<\/p>\n
It was a subtle change from the original sword throw, to actually use it in a routine performed live at The Wolf Theater. \u00a0Lat will cover all the aspects which I\u00a0used in this routine so I\u00a0won’t go over them as I\u00a0know she is quite eager to do it.<\/p>\n
Learning new things can be time consuming and to implement them into something thats original or that has not been done before is even harder to do at times while at the same time associating it with dance.<\/p>\n
But the point is, it can be done. \u00a0And the more complex you make a routine the quicker you feel gratification in the work you have accomplished,<\/p>\n
If someone asked me to sum up the complexity of it, most is pretty easy. \u00a0The hat, being the trickiest part of it all, really didn’t take long to do, building on the previous sword-throw. \u00a0So, as the thrower is now, a few hours is all I\u00a0need to make something throwable.\u00a0That includes rotation, velocity, \u00a0and distance. \u00a0Anyone can do it but it takes time to learn so best of luck to everyone!. Oh I\u00a0forgot the link<\/p>\n
Watch the video: Girl(s) on Fire<\/a><\/p>\n ******************************* The preparation, creation, \u00a0live-performance thru the making of the video conjured up a books-worth of ideas, thoughts, and emotions, but I\u00a0will try hard to pare down my thoughts and be as concise as I can.<\/p>\n First and foremost this is the first effort and results from a person not only new to the Artiste but new to SL show-dance as well. \u00a0This routine prioritized learning and using features of the Artiste \u00a0over any other routine-creation-criterium. \u00a0It is the 1st live-show ‘throw’ .<\/p>\n I think we have isolated key factors \u00a0required to become proficeint in the Artiste way of life.<\/p>\n This effort shows some<\/strong> of what CAN be accomplished\u00a0when a person:<\/p>\n 1) sets aside a LOT OF\u00a0TIME to learn,<\/p>\n 2) PRIORITIZES\u00a0learning and mastering tool-skills over performing and other distractions,<\/p>\n 3) acquiring almost DAILY ONE-ON-ONE tutoring, and<\/p>\n 4) really WANTS IT and BELIEVES in the RESULTS<\/p>\n 5) usually didn’t avoid letting me know when there were ISSUES as in, errors, omissions, lack-of-clarity, \u00a0missing steps, etc\u00a0and set about getting them resolved.<\/p>\n ***<\/p>\n Is all the effort worth it? I often ponder and wonder that. \u00a0And even when answered, I realize the answer will be personal. What is worth it to one might not be worth it to another.<\/p>\n So, that is a question I cannot answer. Only a person like Sarah who has gone thru the ordeal can answer. \u00a0I can never be “new” to the Artiste experience. \u00a0I repeatedly asked her on several occasions and she always answered in the affirmative. \u00a0Proof may well be in the pudding as she seems to have an unending craving\u00a0for more Artiste feature-knowledge, experience, mastery, and practical application. Her enthusiam remains at an all-time high always trying to top her previous endeavors..<\/p>\n The focus on what has been done here should be placed on the mastering \u00a0of intermediate as well as advanced Artiste\u00a0skills in a relatively short span of time by a relative new-comer… more\u00a0so\u00a0than polish of a\u00a0final product as she is new and should be allowed the time to grow and mature like all of us had.<\/p>\n Tha Artiste is not an easy product to learn much less master but now i know that with a new person…it CAN be done in a reasonable amount of time and with extreme sacrifice.<\/p>\n Many of the accomplishments are visually apparent. \u00a0Many will have significance only to those familiar with the internal machinations of the Artiste. There are just a whole lot of hurdles that trip up 95% of those who try.<\/p>\n I will delineate the techniques that I identified in this performance:<\/p>\n 1 – Dance-Sequencing <\/p>\n 18 down, only 182 more to go.<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":" Hi Everyone, How are you all doing? \u00a0I’m very well thanks. The reason I\u00a0post this is to comment on the recent performance and the making of the Girl On Fire video that will be linked in this brief summary and edited by\u00a0Lat. Ffirst, the making of the routine was a lot of fun.\u00a0The hat-throw … Continue reading Girl on Fire<\/span>
\nYummy here.<\/p>\n
\n2 – Group-Dancing
\n3 – Cane-Adorn
\n4 – Group-Cane Adorn
\n5 – Hat-Swap (head-to-hand)
\n6 – HatThrow (Thrower) (1st live use in a show)
\n7 – Compound-Palette design (Fire Particle and Thrower)
\n8 – Sit-2-Sit
\n9 – Group Sit-2-Sit (Relay)
\n10 – Multiple Movers
\n11 – Lower
\n12 – Raise
\n13 – Extendibles (Extractions) (Phoenix)\u00a0(1st live use in a show)
\n13 – SetRez
\n14 – SetSwap \u00a0(HUD-sequenced control
\n15 – AutoCam design\u00a0\u00a0(1st live use in a show)
\n16 – \u00a0HUD sequenced Curtain Control
\n17 – \u00a0Rez Object\u00a0 (Palette)
\n18 – Kill Object (Palette)<\/p>\n