Category: RAPS

Gist

(I uploaded the video from the media library but it seems that it doesn’t work, so I put the youtube video link below)

For the patch, I met some difficulties building the texture on the 3D model.  The jit.gl.texture should be followed by my object name but I did pay attention to it. What’s more, the tex_map can be directly used since it is the attribute of jit.gl.model, and jit.gl.texture can be separately used with video generators above it.  

At first, I downloaded the ojb.file of an eyeball but the result doesn’t turn out well since the texture on the eyeball is jpg. file and it is independent, so what I read in max is only a white ball with a strange shape. Eventually, I used the human body. I tried to use what camera captures as the texture, but I cannot distinguish what is on the body at all, and if I use attracter and Easemapper with other Vizzle effect modules, the texture will keep changing, thus looks better. When changing the number for jit.gl.multiple, I found that I cannot let those bodies rotating respectively, so I added the rotating effect. Moreover, I used Husaliar to make the final visual effect better. 

I am thinking about improving my project by creating a 3D object by myself, (though the previous result didn’t really turn out very well). One of the reasons I did not try it is that I cannot control the shape of the 3D object I create. What is interesting is that adjusting the parameters for position, rotate angle and the scale will have a huge influence on the 3D object. The final output is also contributed by the dim parameter. I love the screen filling up with bodies, but it was really a mess so I lower the number of dim. The 3D object is really interesting and applicable, I think I am going to apply it into my final project. 

Below are screenshots of my patch and videos for my final output of the patch.

https://youtu.be/DA0xNvM9Pzk

https://youtu.be/QHGKm2XNQCA

3D model resource: https://free3d.com/3d-models/face

Link to my gist:

https://gist.github.com/Amber-yutong-lin/3d4f37725ae036985093c913fa70bed2

Documentation:

I used a free shrimp 3D model for my exercise.

The counter will add the number of shrimps every 0.5 second. 

The texture is rendered from the realtime capture of the webcam. 

The visual effects are mainly produced through HISALIR and SLIDR to smooth out the texture and make the color composition more interesting. 

3D Model

GIST

For the most recent assignment, I wanted to create a very stimulating and exciting environment that utilizes 3d models but also allows them to blend together with the Vizzie effects and generators. I took the max patch that I had created following the in-class instruction and did a few modifications to accompany the 3d model, then I searched for the most appropriate one given my vision. I found a really cool model that shows a lady suspended, surrounded by a bunch of furniture on the website SketchFab. The link for this model can be found above. I had a few issues with incorporating the model, but that was due to my jit’s not all being under the same name. Once I figured out this issue, I was able to incorporate the model under the jit.gl.model.

My next step was to play with the different values in order to find the right scaling, speed, and dimensions that I want to display the model at. After a lot of fiddling with values, I decided to have a very up and close perspective and set the model in a disorienting, spinning position in order to allow the user to feel like they are swirling around with the floating furniture.

The next step was to add character to the model and add an extra touch to the visuals. I decided to add an ever-changing gradient to the model by adding the husalir effect, which I have controlled by a twiddlr. Then, in order to add a texture to the model and patch background, I added the 3dpatternmappr, which I have set in constant motion with an attractr, this texture created by the patternmappr is sent through the kaleidr, and then combined with the 3d model in an oper8r. This allows the texture to be applied to my model and background. I sent the final output through a delayr to smooth things out a bit before I send it to the projectr.

I was happy with my result, as it is a disorienting journey around and through the complex model accompanied by a rainbow kaleidoscope of textures.

Link: https://gist.github.com/TheaSang/0629eab19a01613a982d6595e8b8d9a3

Video:

I built my 3D project based on the patch provided by the professor. At first, I was quite confused about Jit and cannot understand its logic. But after learning the sample patch and reading the comments, I basically understood its operational logic, especially how to create different elements and show them in the same window. For my own 3D project, I chose to create my own design by jit.gl.gridshape and jit.gl.mesh rather than downloading from the internet. I adjusted the input of dim and selected the shape to create the 3D design I want and change its color and darkness by color-mode and Lighting Enable. Then I changed the speed to move the 3D model.

After building the 3D model, I wanted to add some effects though Vizziz. I add the Delay effect for the moving 3D model. Thus, the overall video seems to be more blurred and fantastic. Besides, I combined another video made by OSCIL8R, SOLARIZR, and 3PATTERNMAPPR with a 3D model trough CHROMKEYR. Through this combination, the overall 3D project looks colorful and shining. Besides, I also changed the background color of the video to make it more harmonious.

The overall patch:

I was still not so familiar with Jit and there are a lot of things I did not explore. I think Jit can create more wonderful things and the 3D model is a starting point. I am interested in exploring more and practicing more in the future and applying it to my final project.

The terminologies of VJ-ing, Live Cinema, and Live Audiovisual Performance obviously overlap in terms of improvisation; audience engagement and participation; and intermediacy. However, the institutions for presentation, sequencing arrangement (structure, visual rhetoric), and the primary purpose and can be selectively emphasized or altered by their categories.
From my perspective, VJ-ing is about feeling and sensory responses. For example, a typical VJ-ing happens at night clubs or music festivals (institution) that are mean to be consumed as a form of sublime entertainment (purpose). The sequencing arrangement is often non-linear that does not have to follow a script or storyline. (Sequencing arrangement).
An example would be:

https://www.youtube.com/watch?v=7aLiCGkESs0

On the other hand, Live Cinema is essentially moving images in a live form. Even though there exist problematic approaches to current Live Cinema appreciation in the setting of formal film contests, theaters, opera houses (institution), Live Cinema aspires to be properly considered as moving images and to be judged upon its live cinematic values, which challenges the traditional definition of cinema, “namely narrative continuity and a fixed spatial arrangement” (purpose). Therefore, a script though less obvious than static films will probably lead the arc of storytelling when played live. (Sequencing arrangement). In other words, Live Cinema employs the performative elements (live music scoring, live visual effects) to expand the cinematic experience.
An example would be the Light Surgeon’s True Fictions (2007):

Live Audiovisual Performance is used more often to describe the community and the genre as a whole that includes VJ-ing and Live Cinema. Live Audiovisual Performance value the performance as the “aura” Benjamin critiques that the mass-produced art lacks.

However, rather than hard defining what is VJ-ing, Live Cinema, or Live Audiovisual Performance, I think what matters most is the statement from the creators/artists. A Live Cinema can be displayed and performed anywhere and a VJ can tell a  well-constructed story. The definition does not matter once the statement is made clear.

Citation:

Live Cinema by Gabriel Menotti

Live Audiovisual Performance by Ana Carvalho

The Work of Art in the Age of Mechanical Reproduction, Walter Benjamin