Even though I live mostly in the digital world, I love to journal and write things down so I also collect a lot of pens. They’re mostly the gel pens and the cheaper ones because fountain pens can be pretty expensive. Besides, my handwriting is sometimes undecipherable (even to myself) so I don’t want to waste my money on something that may not be that useful.
Some of my friends who collect fountain pens have told me though that these kinds of pen are better for my handwriting (and maybe my mental health). Aestus is a limited edition signature pen that caught my attention because of its unique form. I actually thought it was a tiny light saber at first glance, but a lot of fountain pens do look like they come from Star Wars.
This pen is made from high grade stainless steel and has two geometric shapes that turn from a hexagon profile into a circle. What makes this even more sophisticated is that it comes with a ceramic docking unit where you can place the pen when not in use. It has a layer of cork in both the upper part and the base. So the design of the pen and the docking unit gives off a luxury product vibe.
The prototype for the Aestus pen was created in India’s largets prototyping center, T-Works. They presented a prototype as a token to the CEO and Chairman of tech company FoxConn, Mr. Young Liu. They haven’t said yet if this will be available for commercial purchase but it will probably be pretty expensive so it’s an aspirational product for some fountain pen collectors.
It seems that the Microsoft Duo dream, and that of the Courier concept before it, is pretty much dead in the water. While the idea looked tantalizing, execution left much to be desired, especially when it came to using a mobile platform such as Android. A tech giant’s failure, however, never stopped anyone from dreaming up other designs, as can be seen in some of the dual-screen Windows laptops being sold by the likes of ASUS and Lenovo. Of course, those are large and expensive devices that don’t capture the flexibility and agility of earlier concepts. Unsurprisingly, someone is trying to bring that idea to life again, this time with a combination that somewhat makes sense, if only the implementation does as well.
Designer: Bluegen
To be clear, this isn’t the first device that put a regular colored LCD screen and a monochrome E Ink display side-by-side. Ever the bold explorer, Lenovo launched the Windows-powered Yoga Book C930 half a decade ago, and the fact that it isn’t as widely known is probably proof of how popular the design was. To be fair, the idea had merit on its own, combining a colorful and vibrant screen with an eye-friendly and battery-efficient display to have the best of both worlds.
Lenovo Yoga Book C930
That’s the same proposition that the OKPad is making but on a smaller scale and a significantly lower price point. With an 8.9-inch IPS LCD screen paired with a 7.8-inch E Ink screen, it’s aiming for portability and convenience more than power and performance. It’s more like a sidekick than a main mobile device, useful for taking notes, typing out quick documents, or even giving a business presentation off-site.
There are, however, some details that make the OKPad a little less convincing. The aluminum alloy shell does have some aesthetic appeal, but the large bezels around both screens make it look more like a prototype or a blast from the past. There is also some confusion about the exact specs of the device, but it sounds like a mish-mash of modern hardware like USB-C and Wi-Fi 5 as well as an unidentified Snapdragon processor that might be from 2018 or earlier. And then there’s the fact that it’s running Android 10, a version that’s almost ancient by now, both in terms of features and, more importantly, security updates.
Admittedly, the OKPad concept is quite intriguing, and for people who love to read and take quick notes on the go, it does offer the best of both worlds of regular Android tablets and E Ink readers. There might be some concerns about apps, not to mention the uncertainty of a crowdfunded device, but at its price point, it’s almost too tempting not to take the risk. Then again, there are now E Ink readers with colored screens, more powerful hardware, and more recent Android versions, so those two worlds have already been bridged in some other way as well.
Tech company Nothing has made modularity and customisation two big selling points for its first budget-conscious phone, the CMF Phone 1, which was launched today.
The CMF Phone 1 is the first smartphone from Nothing‘s affordability-focused sub-brand CMF and retails from £209, making it less than half the price of Apple’s entry-level iPhone SE.
As with all of Nothing’s products, there is a focus on design and an ambition to inject a sense of fun and wonder into the product category.
The CMF Phone 1 comes in bright colours with changeable cases and accessories
The phone is partly modular, with a back cover that can be screwed off by the customer to change the coloured case and a port in one corner where accessories can be added.
Nothing also says that this will facilitate easy repairs, although it is not possible to simply swap out the internal components in blocks, as it is with the Fairphone, and they are mostly concealed by another layer of protection.
The back of the phone also has what Nothing is calling an “engineer’s aesthetic”, with visible stainless steel screws that are intended to “lay bare how the smartphone is made”.
The phone is style-driven with visible screws
There are four colour options and three accessories available on launch – a fold-out stand, card holder and lanyard.
The phone runs Nothing OS 2.6, Nothing’s modification of the Android operating system, which continues the brand’s visual style and offers a monochromatic option.
It aims to outclass other entry-level phones on its specifications, which include a 43-hour 5000 milliampere-hour (mAh) battery, an “extra bright” 6.670-inch Super AMOLED display and a Sony 50-megapixel camera with portrait sensor.
The back of the phone screws off with a provided tool
However, it also lacks some features that regular smartphone users may regard as standard, such as an NFC chip, multiple rear camera system and higher water resistance rating.
Nothing launched two other CMF products, a smartwatch and earbuds, at the same time, and says they all demonstrate that great design and high quality are not limited to premium price points.
“CMF Phone 1, CMF Watch Pro 2 and CMF Buds Pro 2 showcase Nothing’s unique approach to integrating creativity, practicality and personalisation through design,” said Nothing CEO Carl Pei. “These products further mark our commitment to injecting fun into a boring industry, and I’m very excited to see the market feedback.”
The phones run Nothing OS, Nothing’s Android-based operating system
Nothing is a London-based brand that launched its first product, the Ear 1 wireless earbuds, in 2021. One of its founding partners is Teenage Engineering, which helps to drive the brand’s aesthetic.
In an interview with Dezeen earlier this year, Nothing design director Adam Bates said the brand took inspiration from the design of the past as much as today and that it was aspiring to a phone with full modularity.
“The repairability thing is clearly the way to go,” said Bates. “Maybe there are Nothing products in the future where you can touch the battery, and you can take the battery out.”
A decade ago, the National Corvette Museum in Kentucky suffered a bizarre incident: A massive sinkhole opened up beneath the museum’s Skydome, swallowing eight rare Corvettes. Thankfully it happened after hours. (The security camera footage of it is here.)
Weirdly, the freak event subsequently drove record attendance. People wanted to see the aftermath of the disaster.
Now the museum is holding a 10-year anniversary exhibition of the disaster:
“Get ready to experience ‘Ground to Sky: The Sinkhole Reimagined,’ our newest exhibit that takes you beyond the infamous 2014 sinkhole. This limited engagement showcases a decade of grit and innovation, highlighting our epic recovery journey and unstoppable progress. Just like the Corvette, it’s a story of smashing through obstacles and pushing boundaries.”
The museum was able to restore three of the Corvettes, which will be on display.
Here’s an object category I had no idea existed: Floating coolers. These are apparently popular among people with swimming pools, people who vacation on lakes, and kayak campers. (The latter category travel to their campsite by kayak, carrying their camping gear on-board.) Being a relatively new product category that targets different use cases, there is no established form factor. What I found most interesting are the user reviews: The people who love these things, really love them.
This $66 Rangland River Cooler is inflatable. This targets the kayak crowd. It’s meant to be loaded up with food and drink, then towed, reducing weight on the kayak. It’s made of PVC, and the manufacturer says the underside is triple-layered to offer “extreme protection against scratch and puncture.”
This $40 Pittman Floating Ice Chest is also inflatable, and they offer both a hard-sided cooler and inflatable cooler option. However, these apparently lack the durability (according to reviewers) of the Rangland model. It’s perhaps better suited to pool parties than towing down a river; whereas Rangland mentions beefing up the underside of their offering to protect against rocks, this Pittman model comes with a patch kit, which doesn’t sound reassuring.
This rigid $130 CreekKooler model is presented as being primarily for pool parties. But it gets rave reviewers from kayakers and boat people. An interesting use case I hadn’t thought of; one reviewer says he bought a second one, to use as a floating trash can.
This $60 Big Bobber Floating Cooler seems like a poor design: As you can see in the product photos, the spherical shape means it can easily tilt and take on water. On top of that, the lip where the two halves meet seems cheap and poorly executed. User reviews back both of those points up.
Lastly, this $300 Amphibious Cuddy Crawler has wheels, making it easy to transport on land. Reviewers raved about this feature—coolers loaded up with ice and drinks can get heavy—though some complained about the wheels falling off. There is a rather glaring design flaw: The wheels are meant to be removed for towing-in-water applications, and they are attached to the cooler by Velcro. As one reviewer pointed out, trying to pull the cooler across a gravel parking lot easily jostles the wheels off. Caveat emptor.
Product designers get inspiration for coffee machines from a lot of different objects: from lamps, to pop culture properties, to other kitchen appliances, to furniture. Of course we can get inspiration from almost anywhere, even though it’s actually far from the thing we’re trying to design. Hong Kong’s urban cityscape, particularly their apartment buildings has been featured in a lot of movies and TV shows and now, you can see semblances of it in this concept for a coffee machine.
Designer: One Object
The FOOD Coffee Machine series is a concept that was inspired by the aforementioned Hong Kong apartment buildings with their colorful and box-like design. The series shows off square and rectangular shapes with various pastel colors to light it up. It is meant to be customizable when it comes to its color and finishes so that it can fit your kitchen’s aesthetic, whether you’re going for a monochromatic or a more colorful vibe.
Velo is the more compact version of the coffee machine with its capsule system, if what you’re into is instant coffee. The water tank is at the back with colorful and modular-looking square and rectangular shapes making up the rest of the machine. Meanwhile the Manua is the espresso machine version with its box-shaped version of a manual coffee filter. The water tank is in the front beside the brew head and portafilter. The colorways are more monochromatic but still with several color options from the renders.
As someone who dreams of having a pretty nice coffee nook and maybe a coffee shop someday, this concept actually fits into what I’m looking for. The colorways and shapes are actually pretty attractive even if I don’t know about the actual functionalities of these machines. Well, as long as they can make coffee, I’m good.
Promotion: educational institute My ArchiSchool has developed game design courses children and architects can use to create visualisations of their spatial designs.
The courses enable users to design and explore their own buildings and play games within them, using avatars that can also be created as part of the programme.
My ArchiSchool said it is aimed primarily at children between the ages of six and 17 with an interest in architecture, but added that architects can also use it to visualise their designs.
My ArchiSchool has developed game design courses for architectural visualisations
“My Archischool has started to programme a new integration of architecture, game design, and filmmaking,” said the Hong Kong based institute.
“With the use of game design within their own buildings, My Archischool students could walk through their own designs through the eyes of the avatars,” it continued.
“They could do design reviews to their own buildings and visualise the events to be hosted.”
It is aimed at both children and architects
By using the software to create games inside their own building designs, users can visualise the spaces both for fun and professional uses.
The company believes this will be useful for student and professional design reviews, building on the success of programmes such as Epic Game’s Unreal Engine, Unreal Engine for Fortnite and Twinmotion.
Students can design and explore their own building designs with the interactive gaming platform
It is also hoped to bridge the gap it has observed in the teaching of the arts and technology between secondary and tertiary education, helping young people develop skills in these areas.
My ArchiSchool said this responds to “increasing demand” for creative workforces with capabilities in both art and technology around the world.
It is aimed at developing a workforce “good at art and tech”
“There have been a lot of new interdisciplinary design degree programmes offered by universities in UK and US covering architecture, art, and technology in recent years,” the institute said.
“However, the curricula in high schools have not yet been upgraded to catch up,” continued My ArchiSchool. “If kids can have a better preparation and they will enjoy more choices when they select their target degree programmes.”
Avatars can be created as part of the experience
“Students who have used the gaming platforms have benefitted from interactive reviews of the functional assignment of rooms and the spatial sequences within a building,” the company said.
“With the multi-disciplined interactive design programmes, the young ones can be more prepared to choose their university degree options, and also enjoy more job opportunities, whilst the world will get some new workforces who are good at art and tech. A win-win solution,” added My ArchiSchool.
To find out more, visit My ArchiSchool’s website here.
Partnership content
This article was written by Dezeen for My ArchiSchool as part of a partnership. Find out more about Dezeen partnership content here.
The modern kitchen design features a clean, streamlined look, but it may be subjected to different problems that decrease the workflow and functionality of the kitchen. As the kitchen forms one of the busiest areas of the home, it may transform into a disorganized space that may create stress while working. As effectively running a kitchen demands careful planning and organization, here are solutions to some common kitchen problems where maintaining the desired level of neatness becomes challenging.
If your kitchen releases a foul odor, it is because the water passing through the sink and drain decomposes. This can be taken care of by using readily available ingredients from the pantry, such as baking soda and lemon juice. Simply pour the mixture down the drain, let it sit for 15 minutes, and then flush it with hot water.
It is common to have grease on surfaces like the countertop, kitchen sink, floor, cabinets, and even the chimney. This is because grime accumulates on the surfaces, which is a combination of steam and oil. One of the simplest ways to resolve this issue is by cleaning the surfaces with white vinegar and a microfiber cloth.
Lighting is a crucial element in interior design that provides comfort for cooking and efficient workflow. As certain kitchens may have low-intensity lights, they should be replaced with bright bulbs. The kitchen lighting should comprise three essential layers namely the ambient, accent, and task lighting. These layers combine to create a highly functional kitchen design. Ambient lighting forms the main source of illumination, task lighting focuses on functional areas like countertops, while accent lighting highlights decor elements. Note that some fixtures serve dual purposes by emphasizing both the functionality and aesthetics of a practical kitchen.
Inadequate storage is one of the main reasons for an unorganized kitchen. Therefore, it is important to optimize vertical storage with full-height overhead cabinets and store infrequently used items on the top shelves. If space permits, introduce a kitchen island that serves as an additional countertop or a dining or breakfast table that provides extra storage. Another way to optimize space is by replacing bulky standalone appliances with sleek built-in ones, ensuring ease of maintenance and increased kitchen space. Go for a portable table or trolley that can accommodate large and small items that occupy precious countertop space. Opt for a pantry with a custom multi-utility cabinet or a full-wall cabinet for organized storage. You can also invest in a tall modular unit that can efficiently accommodate glassware, crockery, packaged food, and other kitchen ingredients. Install small shelves on the inner sides of kitchen cabinets or cupboard doors to store small items that often get misplaced.
A cluttered kitchen reduces the workflow of the user; hence you must make sure to ensure that the countertop is free of clutter as limited countertop space is often a common design constraint. To minimize clutter, it is important to reduce the number of items on the countertop and use the window sills for other storage. Dedicate one cabinet to mixers, toasters, and grinders, and use the backsplash for hanging pots, spatulas, and frequently used kitchen utensils. This is one of the best ways to maximize storage and enhance the overall efficiency of the kitchen. Also, you can create additional space in the ‘work’ zone by extending or adding new cabinets overhead and also, contemplate utilizing the space above the fridge to install cabinets. Other ways to reduce clutter include discarding utensils that are not useful, getting rid of spices, sauces, and other kitchen ingredients that have crossed their expiry date, and keeping the counter clean so that the kitchen does not feel overwhelmed with clutter or create stress.
Lack of natural light or a window with an appealing view imparts a cramped look and feel to the kitchen. If the kitchen does not receive natural light, consider an open kitchen design or incorporate a breakfast counter. Natural light from the living room or dining space can illuminate the area during the daytime, helping to eliminate kitchen odors. Additionally, ensure that the kitchen has a chimney and exhaust fan for good ventilation. Since the absence of natural light can impart a gloomy look, you can enhance the room’s edges and create a sense of space with under-cabinet lights, providing task lighting on shaded countertops. You can also extend the feeling of space by adding LED lights on the kickboards at floor level.
If the kitchen releases odors, then it is highly recommended to install a chimney with high suction power and create a smoke-free and soot-free kitchen. If your kitchen smells unpleasant due to last night’s dinner remnants, sink moisture, or lingering trash odors, prioritize ventilation. Thoroughly clean appliance interiors and countertops to tackle stubborn residues. Combat odors by placing open boxes of baking soda, charcoal, or coffee grounds in strategic locations. Additionally, clean the kitchen regularly to check potential sources of odor like soiled kitchen towels, food residue, spills, clogged drains, trash bins, and so on. Do not forget to infuse delightful aromas by periodically spraying your favorite essential oil around the kitchen or mixing a few drops with vinegar and water solution for daily counter wiping. Alternatively, choose potpourri, diffusers, or scented candles for long-lasting effects
It is important to maintain order in the kitchen, as cutlery like spoons, spatulas, ladles, and others tend to get disorganized and messy. This can be taken care of by introducing adjustable drawer inserts or cutlery trays within each drawer. It allows flexibility for arranging various kitchen tools and maintaining order by placing the cutlery in different compartments.
It is crucial to promptly remove food residues and address spills to prevent the attraction of cockroaches and other pests. If you spot flies on the cooktop or ants inside the cabinets, then contact a local pest control company for kitchen-safe pesticides. Alternatively, use insect-repelling houseplants like basil, lavender, mint, etc. strategically placed in open cabinets or hung by the window. Additionally, ensure to follow a consistent home pest control routine every four months. The best part is that modern pest control methods enable teams to reach difficult-to-access areas in the kitchen without the need to empty the entire space during service.
In an unorganized kitchen, it may be difficult to find things. Therefore, there should be a designated place for each item, and it is important to keep things back in the right place. Adding labels or using transparent containers can be efficient, as it is an innovative method to locate things and keep the space organized. Also, maximize the space between the counter and overhead cabinets by hanging ladles, spatulas, and other small utensils using rods, or pegs on the wall so that they are easy to find and access.
<img width="1024" height="683" src="https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/DEADCOSPHERE2024_0516_195107-1080_ALIVECOVERAGE-1024×683.jpg" class="attachment-large size-large wp-post-image" alt="Opening scene showing house in Haight Ashbury from Dead &Co at Sphere" style="object-fit:cover" data-attachment-id="360307" data-permalink="https://coolhunting.com/culture/interview-sam-pattinson-on-creating-visual-magic-for-dead-cos-sphere-shows/attachment/deadcosphere2024_0516_195107-1080_alivecoverage/" data-orig-file="https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/DEADCOSPHERE2024_0516_195107-1080_ALIVECOVERAGE.jpg" data-orig-size="2048,1365" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="DEADCOSPHERE2024_0516_195107-1080_ALIVECOVERAGE" data-image-description="" data-image-caption="
The Grateful Dead performed their first show nearly 60 years ago. Since then the world has changed radically and technology has advanced in unfathomable ways, yet their music has evolved along the same path laid out in 1965. Dead & Company, today’s incarnation of the iconic jam band, honors this legacy of improvisational, psychedelic rock delighting generations of fans—and for the rest of this summer, blowing their minds with an unprecedented residency at Sphere in Las Vegas.
” data-medium-file=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/DeadCompany_RICHFURY_051624_1281.jpg” data-large-file=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/DeadCompany_RICHFURY_051624_1281.jpg” role=”button” src=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/DeadCompany_RICHFURY_051624_1281.jpg” alt=”Wall of sound recreation from Dead & Co at Sphere” class=”wp-image-360309″ />By Rich Fury. Courtesy of Treatment Studio
Unlike the groundbreaking U2 show, which was mostly the same epic experience every time, Dead & Co changes their set list for each of the 30 nights’ performances and the improvisational nature of their work means the length of each song is also variable. In a high-tech venue like Sphere the visuals are an integral part of the concert experience so the creative team managing lights, cameras, animations, compositing and real-time rendering dynamically across a 16k immersive screen has to be able to jam along with the band to deliver a rich visual narrative. Led by Sam Pattinson, co-founder of Treatment Studio with Willie Williams, that visual narrative comes together from a library of components that is rearranged and re-rendered on demand. We were thrilled to be invited to see the last two shows in June and have the opportunity to witness the brilliant visual work resonate with unforgettable performances of the songs we’ve loved for decades.
What’s your Treatment Studio origin story?
I was a carpenter into my late 20s. Then I had a breakthrough, from a friend called Adam Smith who had a company called Vegetable Vision. They did visuals and were really very innovative. Adam is still doing great work. He does the Chemical Brothers show, for instance, which is extraordinary. He introduced me to another friend, Willie Williams, who was doing the concerts for the Rolling Stones’ 40 Licks tour in 2002.
I was at a company called onedotzero. We started a sister company called Wonder Zero Industries. They had this network of talent around the world—of animators and filmmakers and artists. We invited all of these people to contribute to the shows. Because of this talent, we were able to offer our clients and the bands really varied bodies of work. I eventually left onedotzero, and Willie and I set up Treatment Studio properly in 2009.
How do you and Willie work together?
We work quite separately. We do sort of drink from the same bowl, but we’ve got space between each other creatively which is great. I think that sort of adds to the breadth of the folio. We’re a strange beast, Treatment, because there’s this whole blurred line between producer and creative director. Coming into this industry late, when I was embryonic, alongside the advent of the LED and desktop software we could get for nothing, we could just make the content ourselves. Because of that, we could sort of draw roles each time with each client. It’s very harmonious. It’s really the best idea wins.
When you say “the best idea wins,” do you mean between you and Willie, or are you talking about a team that is working on a specific project?
Absolutely everyone. Look at Dead & Co. I was the lead on that, but we’ve got our design directors Damien Hale, Tim Booth and Sam Munnings. They all made massive contributions to it, with the animators alongside them. They’re all coming up with ideas. Those ideas are encouraged and not smothered. There is a sort of flexibility within the hierarchy and it works really well. I think it helps people with the confidence to put out ideas and see them land.
” data-medium-file=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/DEADCOSPHERE2024_0518_204751-9259_ALIVECOVERAGE-300×200.jpg” data-large-file=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/DEADCOSPHERE2024_0518_204751-9259_ALIVECOVERAGE-1024×683.jpg” role=”button” src=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/DEADCOSPHERE2024_0518_204751-9259_ALIVECOVERAGE-1024×683.jpg” alt=”” class=”wp-image-360320″ />Courtesy of Treatment Studio
Was there a lot of knowledge sharing about Sphere between the shift from U2 to Dead & Co?
We had a lot less time on Dead & Co. A lot of time was spent with Willie, Brandon Kramer, who’s our technical director, and Lizzie Pocock, who produced it, working out the best way to play content and make content and the whole workflow and the in-house system and the service system. On top of that, Willie was obviously able to understand what the creative rules were of the Sphere, and what content did in the space. We really gained hugely from this information. With U2, there were some rules established. On Dead & Co, we adhere to lots of those rules, but we broke some of them too, because Dead & Co—as a client and as a spectacle—is very different culturally to U2. There was more opportunity to be surreal. We could be goofier; we could be more humorous. We could be looser in a way. We could break those rules and add to them. I think that’s the thing, having done two shows in the Sphere: we’re still learning about the space and we’re still learning about what works and what doesn’t.
” data-medium-file=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/DEADCOSPHERE2024_0516_225947-3718_ALIVECOVERAGE-Enhanced-NR-300×200.jpg” data-large-file=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/DEADCOSPHERE2024_0516_225947-3718_ALIVECOVERAGE-Enhanced-NR-1024×683.jpg” role=”button” src=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/DEADCOSPHERE2024_0516_225947-3718_ALIVECOVERAGE-Enhanced-NR-1024×683.jpg” alt=”Skeleton riding a motorcycle on screen at Sphere” class=”wp-image-360317″ />Courtesy of Treatment Studio
You have a history with Dead & Co, as well?
Yeah, we did the “final tour” and we contributed some work earlier, as well. The real connection was that I’ve designed John Mayer’s shows since 2013. He saw our work when he was guesting on the 50th anniversary show for The Stones and then he got in touch. Obviously, this is a collaboration with him and Bob [Weir] and Mickey [Hart].
Obviously, we thought that the last tour would be their last tour, but then the Sphere came around. John is the source of many of the ideas in the show. His concept is what you see now. Bob and Mickey also brought very strong ideas for what they wanted. There’s a great relationship they’ve all got. So for us, from a collaboration point of view, it was really harmonious and positive.
Can you dig into that a little bit further: what does the creative ideation process look like?
Another thing you learn about the Sphere is that you need to have a concept in place a long time before the show. In both instances, the bands kind of knew what the show was going to be before they went into production. John and Willie had really given it a lot of thought and presented this idea in November of last year, about this journey through these universes, these different worlds, these different places, these different emotions.
I’m not allowed to say too much, even though it’s all over the internet, but you know, there’s a very strong bookend to the show. We start in a relevant place, and we leave there and we go into space and we start this incredible journey through these ideas and concepts. Then we return to that place in a different time. There’s this history to the whole thing, and it’s unexpected. Within there, even though John had very strong ideas about the places we’d go, and so did Bob and Mickey, it still gave us this open book. Any sort of idea that we had could fit in there. It was a really clever template and it encouraged the entire team to contribute a huge amount of work. We produced five-and-a-half hours worth of content for a three-hour show. The game was always to over-deliver so they could change the show up for the fans.
” data-medium-file=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/DEADCOSPHERE2024_0516_200320-1511_ALIVECOVERAGE-2-300×200.jpg” data-large-file=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/DEADCOSPHERE2024_0516_200320-1511_ALIVECOVERAGE-2-1024×683.jpg” role=”button” src=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/DEADCOSPHERE2024_0516_200320-1511_ALIVECOVERAGE-2-1024×683.jpg” alt=”” class=”wp-image-360314″ />Courtesy of Treatment Studio
How much of the production is planned in advance and how much is riffing along with the band? It’s not only that each night is a different setlist, but each song is not necessarily an exact duration.
The only sort of live and real-time rendered content is during Mickey’s drums and space and that’s run by a guy called Brett Bolt and he uses Notch. We used photogrammetry to scan a chunk of Mickey’s drum collection. We did 80 drums in the end, from the 1000 that he owns. That was put through Notch, so they’re sound reactive. We take the MIDI feed from the drums and from Mickey’s setup. That is actually driving the video. On top of them, Brett is controlling the visual and bring it up and down with the performance, which changes every night. The rest of the show is pre-rendered but we are developing the whole reactive approach to the content for the show.
We’ve got a bank of material and the way it works is that we get a setlist, hopefully the day before, and reallocate the looks to the different songs. There are certain things that stay in the same place every night, like the opening animation and the return animation. But again, the band will play whatever song they want to do and we might have to shorten those pieces to fit around them. It keeps it really interesting and it keeps everyone involved looking in.
” data-medium-file=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/DEADCOSPHERE2024_0518_195019-8026_ALIVECOVERAGE-300×200.jpg” data-large-file=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/DEADCOSPHERE2024_0518_195019-8026_ALIVECOVERAGE-1024×683.jpg” role=”button” src=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/DEADCOSPHERE2024_0518_195019-8026_ALIVECOVERAGE-1024×683.jpg” alt=”band on stage at Sphere” class=”wp-image-360319″ />Courtesy of Treatment Studio
Your team has live intervention—regarding how long something is playing back for and when to transition from one piece from the library to another piece, right?
Yeah, and it’s really important. Danny Purdue controls a disguise server, the control that plays out the video. He’s very good. He is the key to how we can sort of keep up with the music, and it works both ways. They’ll play the songs different structurally and the durations will change. Sometimes we’ll get a song which is typically 12 minutes long, and they might stop playing it after nine. We’ve got a loop with an intro and and outro.
” data-medium-file=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/DEADCOSPHERE2024_0516_194900-0974_ALIVECOVERAGE-Enhanced-NR-300×200.jpg” data-large-file=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/DEADCOSPHERE2024_0516_194900-0974_ALIVECOVERAGE-Enhanced-NR-1024×683.jpg” role=”button” src=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/DEADCOSPHERE2024_0516_194900-0974_ALIVECOVERAGE-Enhanced-NR-1024×683.jpg” alt=”graphics on screen at Sphere” class=”wp-image-360311″ />Courtesy of Treatment Studio
There are so many little, nuanced details that make all the difference in the world yet a lot of people don’t consciously see them. Why are they important?
You know, in terms of video content, any show that has it has been using big screens for a long time, that’s how you translate the show for a stadium audience. It’s always been through these screens. You realize that some people sort of get the disproportionate sense of importance with it but I think we’ve always been in check with it. If the screen turns off, but the music still playing, you’ve still got a show. If the music turns off, there’s no show.
There’s a lot of effort we put into those details, and at the same time we know that most people don’t notice them and if the screen turned off it wouldn’t be the end of the world. But then it’s always like going to a football game over here. You know, you might not know who scored the goal or who got sent off or any of the details of the game but you know whether you’ve seen a good game or not. I think you have to try to have those details and try to really make it as good as possible. Because it does translate to the experience.
” data-medium-file=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/DEADCOSPHERE2024_0516_204425-2262_ALIVECOVERAGE-300×200.jpg” data-large-file=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/DEADCOSPHERE2024_0516_204425-2262_ALIVECOVERAGE-1024×683.jpg” role=”button” src=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/DEADCOSPHERE2024_0516_204425-2262_ALIVECOVERAGE-1024×683.jpg” alt=”graphics of posters on screen at Sphere” class=”wp-image-360315″ />Courtesy of Treatment Studio
What drives your commitment to these details?
I think it is the genuine desire to deliver a good show. And it’s for the band, you know, who we have great respect for, and for the fans who invest their money. They deserve it and I think every time we look at something we see that we can improve it. We can’t get to a point where we just need to get out of the way and let them get on with it. I think it’s something we’ve learned over the years. You know when you’re looking at a lazy show. You know when you’re looking at something you’ve never seen before.
You really want to convince the audience to be in the moment, and yet you can’t distract them from the music. In the Sphere that can be something you’ve really got to manage. Also, occasionally, you really want to confuse the audience so they don’t actually know what they’re looking at or don’t understand how that’s working. We do that through detail most of the time.
” data-medium-file=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/DEADCOSPHERE2024_0516_231212-4126_ALIVECOVERAGE-Enhanced-NR-1-300×200.jpg” data-large-file=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/DEADCOSPHERE2024_0516_231212-4126_ALIVECOVERAGE-Enhanced-NR-1-1024×683.jpg” role=”button” src=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/DEADCOSPHERE2024_0516_231212-4126_ALIVECOVERAGE-Enhanced-NR-1-1024×683.jpg” alt=”earth from space on screen at Sphere” class=”wp-image-360318″ />Courtesy of Treatment Studio
Do you love an Easter egg?
I’m not gonna talk about it. But at the beginning we sort of over-egged the Easter eggs and we drew back a bit. There’s some very beautiful moments during the paint section and things that people have picked up on and obviously Jerry Garcia’s such an important part of this. It’s a very beautiful homage to him.
I used to work in Martha’s Vineyard, fry cooking, and the Deadheads would come in and work for a bit for a season then they’d go back out on the road. I never really got the music, at that time, but I’ve been aware of this thing and the way it grows. Now, I finally understand how beautiful the music is. How wonderful it all is. And then this culture of it. I can’t think of a comparison in England or Europe. There’s nothing like it. There’s The Stones and there’s U2; there are these other bands with very dedicated followings. But there’s just this other thing with Dead & Co, and it’s so rich and it’s sort of encourages you to think about Easter eggs and because there’s so many wonderful things to go back and reference. There are very few bands that could put a show on like this, and bring people like us in and bring in such talent. The reality is the imagination of these artists, this band of musicians, and their open mindedness, is exceptional and that’s really why you’re looking at the show.
Dead & Co’s Sphere residency ends on 10 August 2024. Fans who make the trip to Vegas should also check out the Dead Forever Experience at the Venetian Hotel to see an archive of images, relics, merch and more. And given that the Venetian has an indoor walkway to Sphere it’s the best and easiest place to stay for those attending the shows.
While laptops and tablets are the most convenient and most mobile for those who want to work outside, it’s not always the most powerful. But having those bulky computers at home or at the office may also not be that ideal even if they can sometimes be more powerful. So a mini PC can be the best thing to have if you’re looking for something compact but still powerful enough to let you do what you need to do if you’re a content creator, gamer, or a professional.
Designer: Minisforum
The UH125 Pro from Minisforum seems to be a pretty powerful mini computer that is packaged into a tiny body. It has the Intel Core Ultra 5 processor with intel 4 technology and a 3D high-performance hybrid architecture. Since it has 2x iGPU performance, you will be able to improve the running speed when it comes to tasks like video editing, 3D rendering, and live streaming. It’s also perfect for watching videos and playing games as it has the Xe Super Sampling (XeSS) technology that is able to support high-performance and high-fidelity visual effects.
Even thought it is smaller than most computers, it has high-efficiency large storage for your multimedia entertainment and massive data storage needs. And in case that isn’t enough, there’s a storage expansion method as well. You can also connect up to four 4K screens at the same time since it has two full-speed USB4 ports, one HDMI 2.1 port, and one DP 2.0 port. And in case your concern is overheating since it’s small, it has a compact phase-change heat dissipation design with a large-diameter silent cooling fan and three heat dissipation copper pipes.
The UH125 Pro is small enough that you can place it on your workspace even if you have a small one. It actually looks like the old-school hard drive boxes that we used back when we needed high storage external drives. There’s a barebone version and a more expensive one that has 32GB RAM and 1TB SSD. Both are now available for pre-order on the Minisforum website.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
