Our good buddy Sam is back with the second installment of his Max 7 preview series.
Patch along with Rob Ramirez and discover the Jitter Physics system.
Harness rigid bodies with the second tutorial video covering collisions and constraints.
Get immersed in Jitter Physics with two weeks of daily patches.
Set up your first Jitter Physics world and work with rigid bodies to create simple motion simulation.
Create complex repetitive visual patterns similar to a kaleidoscope.
The branching structure of a tree provides the basis for this animation patch.
See new Jitter features in Max 6.
In third installment of Jitter Recipe Collection, the Jitter Recipe “AnaglyphRender” builds on the “RenderMaster” recipe posted to create a realtime 3-D anaglyph image.
Muziko Kreito Universo is a three-dimensional visual and ambisonic sound installation.
VJ Mode 1.5 is an application that is used by VJs and visualists for creating visual shows in clubs, venues, festivals, and so on.
Author: ICSRiM, University of Leeds
The i-Maestro 3D Augmented Mirror is a software tool built with Max and Jitter, designed to support bowed-string instrument training by using multimodal feedback.
pMix (short for preset mixer) is a composition and performance tool that facilitates the control of multiple plugin parameters using an intuitive graphical interface.
Lately, I've been working on some "classic" OpenGL programming within Jitter, and I've been using jit.gl.sketch to do that work; it is very close to the OpenGL syntax that you find in most books, and is fairly forgiving in terms of incoming data type. However, I got very tired of editing message boxes once the programs got a little bigger, but I wanted replaceable parameters like you get with a message box.
In this installment, we'll be working on some more advanced ninja tricks - creating the beginnings of a control/preset structure with assignable LFOs, and building a GPU-based video delay effect. These two parts will bring our system to a much more usable level, and allow for much more complex and interesting results. Ironically, most of what we are really doing in this installment is just an extension of bread-and-butter Max message passing stuff.
Between the tutorials, Jitter Recipes, and all of the example content, there are many Jitter patches floating around that each do one thing pretty well, but very few of them give a sense of how to scale up into a more complex system. Inspired by a recent patching project and Darwin Grosse's guitar processing articles, this series of tutorials will present a Jitter-based live video processing system using simple reusable modules, a consistent control interface, and optimized GPU-based processes wherever possible. The purpose of these articles is to provide an over-the-shoulder view of my creative process in building more complex Jitter patches for video processing.
Typically, when I talk to Jitter users about writing one's own shader programs for use with jit.gl.slab, I usually get glazed-over eyes and this sort of distant look of wonder. When I try to explain how easy it is, that look typically turns to one of annoyed disbelief. So, for a long time now I've been thinking about writing an article to de-mystify the process of writing your own GLSL shaders, and to help everyone avoid some common frustrations.
The majority of these recipes are specific implementations of a more general patching concept. As with any collection of recipes, you will want to take these basic techniques and personalize them for your own uses.
Book 1 contains some clever solutions, advanced trans-coding techniques, groovy audio/visual toys, and basic building blocks for more complex processing.