anonymous

slo ~|•

The live text animations, as well as the generative granular audio, were all programmed in the Max/MSP/Jitter environment. Three networked computers output the visuals to four (total) HD projectors and audio to a 4.1 system with a speaker behind each of the four screens.

glisten-hive

*glisten) HIVE

Cycling '74

Did you know you can call individual jit.qt.movie frames using the @autostart 0 attribute and the frame $1 message?

Watch the entire Did You Know series on our Youtube playlist!

Did You Know #25: Frame Advance

You can play a movie backward and create stop-motion effects in Jitter.

week-25

Week 25: Frame Advance

Ted Wiggin

This is a piece of animation software I developed as part of the process of making my last short film Lo.
 
It's user friendly and free--


 
It's a drawing tool that can automatically (badly) interpolate between hand drawn images and an implementation of Conway's Game of Life

We must protect this house. 
 
www.tedwiggin.com/TinkerYonder

This is a piece of animation software I developed as part of the process of making my last short film Lo.

tinker-yonder

Tinker Yonder

Eric Hayes

A motion capture project by Eric Hayes and Jeff Snyder.

Mo-cap data processed in Python, visuals created in Max using jitter and OpenGL, render parameters controlled with MIDI controllers in real time.

A motion capture project by Eric Hayes and Jeff Snyder.
Mo-cap data processed in Python, visuals created in Max using jitter and OpenGL, ren

in-motion---a-motion-capture-project-in-max

In Motion - A motion capture project in Max

Andrew Benson

Last year, Peter Burr approached me with an intriguing Kickstarter campaign he was starting for a travelling show, and wanted to know if I would contribute a video.  The concept was that a group of video artists would each make 30 second videos about "the Zone" from Tarkovsky's film Stalker, and/or the book it was based on Roadside Picnic. 

I immediately jumped in and started reading the old Russian science fiction novel.  Before I even sat down to watch Stalker, I had a clear view of the visual style and process I'd use, and in fact never bothered to watch the movie (highly recommend it) until after my video was finished.  I'm excited to be included in a really fantastic group of artists and what promises to be a pretty great show.  For my part, I created a 3D animation with Maya that was exported as a Collada file and then brought into Jitter's jit.gl.model object.  In Max, I created particle effects, applied generative and animated textures, and created a number of other special effects using OpenGL geometry.

Still From "Into the Zone" - Andrew Benson

This Friday, the touring Max-driven live cinema show will be making it's first US stop at the Museum of Moving Images in New York.  For some more info, check out this interview with Peter Burr at the Creators Project.

New York media artist Peter Burr presents SPECIAL EFFECT, his newest mash-up of live music, video, and staged theatrics. In this performance, Burr becomes the live ‘presenter’ of an imaginary television show featuring fresh new works from the underground animation label Cartune Xprez. These video segments are all inspired by the Zone, the site of an unnamed cataclysm in Andrei Tarkovsky’s 1979 sci-fi film Stalker. The Zone is off-limits, forbidding and mysterious; but also pregnant with hope, for deep within the Zone, it is rumoured, there exists a room where wishes may be granted. 
Special Effect includes original video pieces by: 
James Duesing 
Amy Lockhart 
Yoshi Sodeoka 
Billy Grant 
Michael Bell-Smith 
Ola Vasiljeva 
Jacob Ciocci 
Andrew Benson 
Jeff Kriksciun 
Chad VanGaalen 
Philippe Blanchard 
E*Rock 
Luke Painter 
Brandon Blommaert 
Stu Hughes 
Michael Robinson 
Sabrina Ratté 
Brenna Murphy 
 
Original music by Seabat and Lucky Dragons

SPECIAL EFFECT TRAILER

special-effect-brings-live-cinema-to-the-museum-of-moving-images

Special Effect Brings Live Cinema to the Museum of Moving Images

Jill Hererra

Don't worry fans of creativity, SUE-C is still creating thoughtful teases of imagery and transforming spaces to exercise and delight your imagination muscle.  She uses Max for both her live performances and recorded work to animate hundreds of different objects (paper, photos, small models, shiny things, etc.)  You can see pictures of her set-up here.

Her newest work, Infinite Jest, lives both as an installation and as a live handmade film
inspired by the complex and remarkable novel of the same name by the late author David Foster Wallace. When the piece lives as an installation, the audience experiences the space as an environment comprised of projected videos, a text based soundtrack, a gaming console and mini tennis court intended for the audience to walk through and play with. During the performance, the film is brought to life through the lens of live cameras that follow the manipulation of photographs, drawings, scale models and various three dimensional objects by visual artist and performer SUE-C, along with the live lush electronic soundtrack and vocals by AGF. Set in a slightly futuristic world the film is an attempt to create and re-create what character James Orin Incandenza, optics expert and filmmaker considered to be his life’s major works. After many unseen failures, his ‘film’, an entertainment, is eventually released, which proves to be fatally seductive. 

With this as a jumping off point, long time audio-visual collaborators SUE-C and AGF explore the expression of seduction in sound and image in collaboration with Kevin Slagle.  You can see photos of the installation here.

The installation opens on October 5th at LaBoral Art Center in Gijon, Spain, and stays until February 25th. The live show is October 6th at 8pm. 

SUE-C will also be accompanying Morton Subotnick at the SF MoMa on November 15th for a concert featuring his most famous piece "Silver Apples of the Moon" with her live animation.

On the night of 6th February 2012, a live performance of the deadly film 
Infinite Jest, having never before been witnessed by a living audience, took 
place here in this room. The magnetic disc recordings made by the Teleputer 
video generating device were mysteriously and irrecoverably damaged, leaving 
only this fragment of film in an endless loop. Some of the materials used to 
make the film were retained by the Arte Centre and are on display here.

Fatal Loop

sue-c

Catching up with SUE-C

Rob Ramirez

Patch along with Jitter Developer Rob Ramirez as he works with the Jitter Physics system. In this multi-part series, Rob will go from creation of a physics world and rigid bodies to using constraints and building and simulating complex structures. This second video shows how to work with constraints to create a Newton's Cradle simulation.

The second video in the Physics Patchalong series takes you through creating and using constraints with physics bodies to add structure.  Follow along as Rob Ramirez goes through the creation of a fully functional physics simulation.
Part 1: http://youtu.be/HSJpWD2Zx5w
Part 3: http://youtu.be/bArs9nnvGCw

Get more information on Jitter Physics: http://cycling74.com/physics/

jit.phys Patch-along, Part 2

Patch along with Rob Ramirez and discover the Jitter Physics system.

jit-phys-patch-along-part-2

Other tutorials in this series:Book 1 (Recipes 00-12), Book 2 (Recipes 14-25), Book 3 (Recipes 26-43), Book 4 (Recipes 44-49)

Sometimes the most effective projections are simple geometric animations.  With that in mind, I put together a relatively simple patch that renders a gridshape as if it was a paintbrush.  The image is then passed through a feedback path that includes some color and spatial manipulations.  To give the whole thing a nice crunchy, demoscene-inspired pixel look, we can drop the dimensions on the captured texture and blow out the color scaling.  I can almost hear the filter sweeps.

This patch uses the nodes object as the main drawing interface for the OpenGL gridshape position and scaling.  By moving the node around and scaling it (Option/Alt-drag) we can reposition and resize the shape onscreen.  This is an unusual way to use nodes, but it provides a nice interface for this purpose, and the values are easy to parse with a few route objects.

You'll notice that as you move the shape around, it leaves behind a trail of shapes.  This is achieved by accumulating captured frames with texture feedback.  You may not see any patchcords making a loop, but the feedback in this case is accomplished by rendering a background videoplane with the previous captured frame mapped to it.  By passing the captured texture through a jit.gl.pix object (similar to jit.gl.slab), we can store each frame as it goes.  We also pass the captured texture post-jit.gl.pix to a videoplane that is rendered onscreen.

Now if all we were doing was accumulating shapes onscreen this patch would be pretty boring.  Using jit.gl.pix, we also have some zoom, offset, and color scaling/biasing happening to each frame as it comes through.  The accumulation of these subtle manipulations each frame adds up to some dynamic effects.

To get the pixelated look, try turning off @adapt on the jit.gl.node object and changing the "dim" control.  To prevent the texture from getting a fuzzy linear interpolation look on output, we send the message "sendoutput filter nearest" to both the jit.gl.node and jit.gl.pix objects.


<ul>
General Principles
	<li>Pixel animations</li>
	<li>Feedback with OpenGL</li>
	<li>Color and spatial effects</li>
</ul>

recipe-51-scrunch

Recipe 51: Scrunch

animallover

The performance displays a projected generative animation of Tom imaged jumping for a ball created from motion capture data. The live granular synthesis soundscape, created using MAX is created from studio recordings of Tom’s vocals and, using “call and response” methods, is accompanied by Andreyev and members of the Vancouver Experimental Theremin Orchestra. The visuals are created using motion capture data of Tom's jump, animation techniques and live generative animation using MAX.

epic-tom-the-performance

EPIC-Tom (the performance)

This recipe creates a fly-over style animation with generative landscapes, complete with basic camera controls. By combining a couple of simple tricks together, we get something soothing and evocative, and a basis for all sorts of generative terrain.

The big trick in this patch is the scrolling effect where we get a new row of geometry each frame as the field scrolls toward us.  To do this, we use jit.concat with feedback.  This tacks on a new row of cells every frame, and we use a fixed jit.matrix object to limit the total size of the matrix.  You'll see that setup used all over this patch, as each element of the scene is following the same scrolling logic.

To generate terrain, we use a jit.bfg object with the "fractal.hetero" function because it looks good.  You'll notice that we are only using it to generate a single row of cells each frame.  This is a good trick to avoid wasting a lot of CPU on fractal generation.  Inside of the jit.gen object, we have a few little things that scales the fractal data and positions it across a flat plane.

To make sure the buildings in the scene sit on the terrain, we use a little jit.gen trick.  Instead of just downsampling the terrain matrix, we use the terrain matrix as a lookup table for building positions.  The "noise" operator used with "sample" in jit.gen is looking up a random position in the left input for each cell and passing it out.  This output is then downsampled so we aren't bogged down rendering hundreds of cubes.  This jit.gen trick is super useful whenever you want to take random samples from a larger mesh to make a smaller set of points.  Finally we pass that matrix to jit.gl.multiple to render a bunch of cubes.


<ul>
General Principles
<li>Creating generative fractal landscapes</li>
<li>Creating a scrolling "slitscan" effect</li>
<li>Working with particle-like motion</li></ul>

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