A large video performance patch incorporating over 30 video filters, quad-warping and other goodies (a major overhaul was due to Andrew Benson's video processing system articles).
One of the most feared and respected objects in the Jitter collection, jit.expr arrived on the scene as part of Jitter 1.5.
Authors: Gloria Gorchs, David Morella, Marco Domenichetti
concept and production: Gloria Gorchs David Morella Marco Domenichetti...is a return trip into an illustrated album.
While many people are looking at Max for Live as a great way to integrate their favorite hardware controllers, build really unique effects, and add variety to their productions, I was eager to explore what could be done with video inside of Max for Live.
I have collaborated with musicians before that work exclusively inside of Ableton Live, so it struck me as a huge advantage to be able to build a triggered video playback and live processing system that worked inside of Live natively.
The Méta-Mallette is a platform in which you can load audio/graphics virtual instruments (made in max) or VST plugins.
Author: Livid Instruments
MIDI controllers supported with a variety of Max/MSP/Jitter patches for audio and video.
This project uses the Rewire and a series of pseudo-random midi triggers and locators.
Authors: Micheal Miller, Brad Baumgardner, Dhivya Ketharnath, Sriram Pavan Kumar Tankasala, and Eric Souther
The Life of the Techno Buddha was constructed out of 108 Youtube videos when search term “Buddha”.
Coming up with ways to get information about the physical world into Max is one of the most fun aspects of working with the software.
In this installment of the Video Processing System, we're going to tackle two big hurdles that Jitter users often find themselves coming up against.
Alex Stahl is a veteran collaborator and this has never been more evident than in his collaboration with Composer Paul Dresher for the opera Schick Machine.
I spent 4 days in Pittsburgh in early June attending the 2009 NIME conference at Carnegie Mellon University.
On the afternoon of April 3rd, I received an email from M.I.A.'s manager asking if I'd be interested in working with them on a one-off show on the mainstage at Coachella that would feature live video processing, 2 DJs, a real Lighting Director, and glowing EL-wire wardrobe by Janet Cooke Hansen (www.enlighted.com, Daft Punk, etc.) for Maya and the dancers.
In the last installment of the Video Processing System we left off with the beginnings of a basic live effects chain with basic compositing, blur, and color effects.
In our last article, we began to create our processing system by putting the essential structure in place and adding our input handling stage.