Vent Sketches

(Below are some initial renders. Each image can be clicked for a larger view)

Part 1: Offgassing

Part 2: Mini Climaxes

Idea2: Body as Mask and center of animation

Animated arms swing out and around from center point of dancer. Can use body to mask out center shape. Illuminate center? Perhaps for most of it.

Idea1: Image Threshold Bursting

Repeating pattern as a class, each in stasis until punctured by the image of dancer.  Shouldn't be too hard. Utilizes BW theshold of video layer and looks for pixel interaction. Require that camera be still.

Strategies for Chamber

Part of my process when doing visual programming is to sketch out what i would like the end result to look like, then try and reverse-engineer that image line by line with code. Here are some ideas bouncing around my mind of how realtime animation could look like on stage.

MAX MSP

Gate = single input multiple outputs
Switch = multiple inputs single output
Speed Limit = only grab numbers at certain times
Line = smoothing
Ramp =single variable delay
Pipe = dynamic multiple inputs, delays

UDP send/receive X,Y

udpsend 192.168.1.100 port  (udpsend ip port)
udpreceive port
Two different port

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Jeremy's Computer - MAX main control, udp receive x,y and input
John's Computer - Camera receive/process, arduino

run off our own router

Titles

Considering Titles

Opening: "Tremor" (intro)
Second: (mythology part, unnamed)
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intermission
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Third: "Chamber" (solo)
Finale: "Vent" (finale)

Website Organization

In thinking through the interface of our new site, I am trying to clearly define how users will navigate our webpage. Generally speaking, we will want to give visitors an INTUITIVE experience, a CLEAN and UNCLUTTERED interface, and to navigate with as FEW CLICKS POSSIBLE to get what they want.

Often times this is easier said than done. Below is an outline of what I am initially imagining. I know this is a busy time in the term, but if you can shoot me any feedback about how to organize our information on the site based on the image below, it would greatly help me. Each tier of the below image would be available per click. So intially they can choose from "The Collaborative", "Accomplishments" and "Vitals". Clicking on each of those would move to the next level of detail, etc.

(click on above image to go larger)

I'm eager to hear any thoughts...
Thanks all!

-John

More Ramp Ideas (+ IR cameras, etc)

Here is another 'sketch' of a stage layout with key components: 15 degree sloped ramp, digital projector for lighting/animation, IR LED flood light (to coat ramp with invisible infrared light), and a video camera to read invisible light/process and trigger real-time animation and audio triggers.

I'll be honest about my lack of experience and knowledge of stage logistics. But in my own naivety this is what I envision following our discussions and in looking at other animation examples.

Learning New Tools

In order to better interact with Jeremy's musical process and link it up to animation and Brad's real-time movement, I'm starting to learn Max/MSP/Jitter - a program that enables realtime audio and video manipulation. One of the biggest hurtles is that the program uses an object-oriented model of programming (or patching) of elements. This is very different than other software environments I have used.

After a couple hours of fidgeting around I've managed to load in movies, manipulate speed, overlay an alpha-channel enabled animation over video, get a feed from a camera, and access Quicktime effects (though they slow the system down considerably).

I also went to see Brad rehearse with Adam, Shannon and Nicole. One theme they are working with that I am interested in is retrograde motion. This could have an interesting accumulative or dualistic (forward/backward) visual component to it.

Ramping Up

Initial Plans for Brad's solo:

• Dance confined to a 10'x10' platform
• Ramp with roughly a 15 degree incline so audience can see movement 
• Top-down projection / sole light source (no stage lighting)
• Realtime animation + scored/realtime audio events 
• Sensors at four corners (IR or US)

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Initial designs for ramp created to be broken down into two parts, each 5'x10'x2.6'

Here is half, mostly built from 2x4's, a couple 2x6's and some sheathing for surface subfloor. Brad will need to give input for suitable top-surface

Showing the split









Stacked for storage

This may help understand the angle (15 degrees)








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More Process Text

Creating Animated Visuals for Harmonic Tremors

(process text by John Park)

Visual artists often find themselves in a role of translator and creator. Translation is present in going from idea to image or in moving from one medium to another. The creation happens within the realm of allowance to move beyond expectation or literal choices. In creating the 14-minute animation for Harmonic Tremors digital animator John Park took on these two roles by using still photographic imagery of geological samples as a starting point for temporal and spatial translations. Following a theme of the symbolic power behind volcanological events, Park began by creating 3-dimensional landscapes by mapping the photographs onto virtual planes and then giving them height based on the photographs color values. This process, called 3D displacement modeling, allowed for varied terrestrial landscapes based off of a handful of carefully chosen still-photographs. Moving these planes though time and space provided a context that hinted at geological time and plate tectonics.

Another visual strategy included was  a dynamic animation that spoke to chemical reactions and colorful mineral sources mixing under heat and pressure. This sequence was created algorithmically using Processing and given a sense of directionality by adding video-layers of lava flows on top.

A final visual technique employed in the animation were a couple of sequences meant to reference the enigmatic geological formations known as Pele’s hair. These visual elements were created with 3D particle systems often used to make visual-effects of smoke and fire, but were instead given length and direction and were exposed to virtual forces such as gravity and wind. The end effect is to visualize something that is difficult to capture – the graceful and metaphoric gestures of Pele’s Hair being formed in the earth.

Some Process Images + Video Update

HT Draft Video 3 from John park on Vimeo.

Text about Process

Working with Brad and dancers, as well as with Jeremy and his electronic compositions, has led me down a whole new path of inquiry - what is the optimal way to collaborate with people and creative work of other media and departments. After seeing the range and grace of the human body as dancers rehearse in the studios, I start to wonder "why don't our animators in the art department have a mandatory dance class"? Or why don't our video artists learn visual texture, rhythm and narrative from electronic musicians instead of just visual artists.

In terms of my own role and process of creating visuals for this animation, I have gone about the task by pulling the most inspiring imagery and ideas from geology (Pele's hair, geological time, subduction zones and tectonic movement) and think of the dancers in Brad's choreography as agents who can carry out the metaphors hidden within those geological principles/wonders. Since this is my first time creating visuals for a dance piece, many questions have come to mind such as: at what points should the visual backdrop support or be a counter-point to the dancers on the stage. The dichotomy of harmony and discord comes to mind when thinking about timing, color and texture in this video piece.

For much of the 3D animated background, I am starting with real source material, mostly taken photographs of stones and minerals as well as from HD video footage of volcanic activity, and pulled abstracted forms out of them. I have been creating movement in an animation from still photographic source material. This act itself makes me think of geological time, a living moving and breathing system that is wildly dynamic under our feet, though one that appears still and immutable due to our human frame of reference.  This type of translation that I speak of can be seen in the following stills from the animation:

In this image, on the left is a still from the animation where a slow-moving roll of extruded stone is seeing stuttering along (alluding to time lapsing by). Different levels of texture, camera angle, focus and background are introduced to create space. On the right is the source image used to create the first section of the animated roll sequence. If you look closely, it's possible to identify the common elements between the source and animation screenshot.

First Three Minutes

What an interesting challenge to navigate between sound and dance. I am wanting to tread lightly and not create something too fast or visually jarring because the majority of the focus should be on the dancers. I was thinking about costumes though and how their rich colors may very well stand out nicely amongst a grayscale backdrop. This whole video is/was in vivid saturated color until I accidentally dropped a desaturation layer on it and the happy accident meant a great deal of new texture and black and white elegance. For these reasons I have stayed mostly in the colorless domain save for a couple musical triggers that screamed out "color" to me, as well as the main flashing transition that comes along a little before 3 minutes.

I'm still very flexible if this animation is too demanding or flashy.
Also, I think the flowing Lava at the end of this video is too much of a giveaway. I was thinking long stringy Pele's hair particles aimating out over time?

Here's the video thus far:


First Three Minutes from John park on Vimeo.

Also, a scan that I made in preparation (documentation of process):

New Process - Three Dimensional Displacement

Here is a new idea and process for abstraction of the literal. I am taking still photos and finding ways to explore the textures, colors and compositional qualities of these natural images as a way to generate a 3-dimensional landscape. Here is the first test. The image at the left is the source while the image at the right is a three-dimensional landscape derived from the source. Once in this 3d format, I can animate through it as well as change the qualities of the form, texture and lighting. This is a great new discovery for me.

Some more toned down versions can be found below:

Process (notes for self): 

1. Still image mapped to highly subdivided plane
2. Level 2 subSurf
3. Displace Modifier, UV coords, normal
4. Subsurf again
5. optional displace modifier to add further fringe
6. using Ray transparency to get quartzy look.

Work Session 2 (12-2-09)

Work Session 2:
After a couple of long and busy weeks of teaching, I have another chance to sit down and devote time to this project. It has actually been useful for me to drop in to the H.T. rehearsals sporadically and let different thoughts and ideas emerge at their own pace.  This post will contain a handful of thoughts, tests and potential directions.
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Idea 1 - Dancer transforms in and out from Solid to Light and Gas:
After talking with Ruby and Brad, I'm becoming attracted to the idea of the massive heat, chemical reactions and  elemental forces stemming from volcanic activity. The fact that an eruption can create weather systems of their own is enough to fuel my interests in how human bodies can represent this illusive (chemical) power. During the last rehearsal that I attended, I shot some footage of Jason doing his skittering dance along a black backdrop. Below is the source footage, followed by a version where the human form slips in and out of recognizability and into color, heat and light. How it might fit in...I'm not sure. Perhaps can talk about this as a possible avenue.


"Spider Dance" - Jason from John park on Vimeo.
(SOURCE FOOTAGE)


Glow Test from John park on Vimeo.

Documentation Shot:

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Idea 2 - Algorithmic Expression of Stage Dynamism
There will be times when we may want the level of motion on the stage to either sync up with, or be in stark contrast to the levels of visuals in the video projection. One way to achieve this is to record the performace with a video camera and (in real time) use Processing to do what's called differencing. This takes the pixels from one frame and compares it to the next. By doing so, we can gauge how much the dancers are moving and get a number value that essential equates to their dynamism. This number can be used to slow-down or speed up video (frame-rate), affect the exposure of a still or moving image in the background, etc.

The bulk of the processing code has been made open-source by programming Guru Golan Levin. If you are running Processing and a webcam, you can run the following code:

http://processing.org/learning/libraries/framedifferencing.html

Work Session 1 (11-6-09)

Mind Map - Organizing Many Strains of Thought in One Place

Here are some thoughts (updated 11/6/09)
(click on image to enlarge)

Links to some videos/content:
Processing Animation: Magnetic Ink (HERE)

NASA I.S.S. Volcano Flyover in HD (HERE)

Video Tests

Orbital Test

Orbital Shape Eruption from John park on Vimeo.
Purpose: find various ways to capture the gesture and motion of an eruption, while masking its obvious visual qualities and normal speed. Just tests....



Blob Test:

Blobby Test - 400% speed from John park on Vimeo.

test video, slowed down to 1/4 speed, working with layers to achieve a less recognizable eruption.


Blue Green Storm (+Audio Expression)

Blue Green Storm from John park on Vimeo.

Purpose: This video explores the connection of sound to visuals using Expressions within After Effects. This simple test takes the opacity level of a video and ties it to the amplitude of the audio (from the Hawaii samples).