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I really like the playful concept of the Dont Play With Your Food embossed plates, by graphic designer Jamie Weick. Description:

“The aim of this project was to inspire some creativity in a wholly ‘domestic’ situation. Seeing how children love to play with their food I decided to create a pair of plates for adults and children alike to spark their imagination at the dinner table.

Simple embossed features turn the plates into templates allowing the user to use their food as facial features - turning the act of eating into something engaging, rather than the passive act of shoveling food. Remaining gravy or sauce allows the faces to remain long after the food has been eaten, giving younger children a further incentive to clean the plate.”

Believe it or not, people making art with webcams don’t rate very highly on the priority list for big computer companies. (Who would have thought?) On the PC, at least, there’s a thriving market for webcams for video chat, since so few PCs have built-in cameras. Meanwhile, on the Mac, Apple has absolutely zero interest in you using any webcams other than those built into their machines, or, if you’re lucky, one of the FireWire iSights Apple made before Apple discontinued them. (Given the high failure rate I’ve seen on the iSights, that assumes you’re lucky enough not only to have found one, but to have it still working.) Ditto, naturally, third-party manufacturers, since there’s unlikely to be any significant market for their wares — and they’re busy navigating the morass of driver development complexity on PCs.

Long story short: the Creative Labs Live! Optia I raved about in the fall is one of the few choices you’ve got that doesn’t require drivers. It’s USB video class-compliant, though unlike other USB classes, it’s not entirely clear that that’s all that meaningful.

But, for several glorious months, through last week, I was able to keep my Live Optia working perfectly with Processing (and thus QuickTime for Java) and QuickTime (via tools like Jitter). Until today, that is. Now I’ve got two of them, five Macs to test, and — nada. On 10.4.10 / QT 7.2 and 10.4.8 / QT 7.1.3 and 7.2, I get either a black screen or (in QuickTime video capture) garbled video. It looks like the sequence grabber isn’t properly setting the resolution, so pixels are being dumped arbitrarily from the camera … I suspect the other errors I’m seeing are also related. USB video class support is relatively new; it only hit iChat in 10.4.9 and may have reached the OS at the same time — I would know for sure, except documentation from Apple is scant.

I suspect some misbehaved QuickTime update, though I find it especially odd that it fails on multiple machines (all Intel — iMac, MacBook, MacBook Pro, and Mac mini) with different versions. I’ve tried reinstalling QT, zapping NVRAM (formerly PRAM), the lot. For once, I can’t blame QuickTime for Java, because everything else is broken, too.

Webcams working some of the time under unpredictable circumstances don’t inspire confidence. Suggestions, anyone? Any idea why this is happening? Anyone got a rock-solid solution for Mac webcams that doesn’t spontaneously cease functioning?

Incidentally, Windows isn’t much better; weird driver bugs there can cause fabulous results like an echo-cancellation driver knocking out USB MIDI devices, driver-related blue screens of death, and other goodies.

Maybe I should just start making my own cameras and writing my own drivers. Yeah, that’s it. capture, compatibility, drivers, interactive, java, Mac, operating systems, processing.org, rants, video, webcams

© Peter Kirn for Create Digital Motion, 2007. | Permalink | 3 comments

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I recently reported that Tenori-On will launch in the UK in various record shops & the launch event. Rupert has posted the following on the Last.fm group

“Ok, wait for it: £599 uk pounds with free shipping…

The reason they are this price is because they are almost hand made at the moment in Japan, they will be available in limited numbers over the next few months from www.tenori-on.co.uk and selected record shops around the UK. The price will eventually go down when the TENORI-ON goes into full production, probably next year. (incorrect information)”

[update] The reduced price based on full production has been confirmed to be false by Yamaha. So if you want a Tenori-On, best to buy it now & help support the initial test run to make sure the project stays alive.

Not only that, but he has posted some fantastic behind the scenes making of photos. A rare glimpse into the world of Toshio Iwai and Yamaha, showing technical diagrams, pcb layouts, workshop photos, rgb leds. Thanks! Flickr set

It’s been almost 6 months since we posted about Shiffman’s Most Pixels Ever processing library, but that doesn’t mean there’s been no progress.

Recently he’s left the lab and ensconced himself in front of the IAC Video Wall, bringing Most Pixels Ever to the screen with the most pixels to give.

Run Lola Run Lola Run Lola Run Lola Run from shiffman and Vimeo.

A little technical detail, with an announcement:

Each cell of video is 60×45 pixels. The entire system is run by 3 Mac Pros each pumping out 2720×768 (totaling 8160×768 for the entire wall.) I’m going to be releasing the Processing library/framework this week! Stay tuned!

Releasing the library? You mean this library?

The site is still a little lean, but early adopters can download the Alpha version and read a little about running it with processing.

Bouncy bouncy! code, experimental, HD, libraries, particles, processing.org, projection, projects, video, video art, vimeo

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Data Is Nature brings to our attention the Valsuka Archive, an incredible trove of early video art history, exhibitions, work, designs and circuit diagrams. Paul describes it better than I:

The Vasulka Archive is massive repository of documents from the pioneering days of electronic, computer and video art. Containing a staggering 27000 pages of scanned documents, replete with hand typed texts, circuit diagrams and skuzzy ink marks, I could spend the rest of the week perusing this stuff, believe me. The big names are here, Crutchfield, Conrad, Paik, Van der Beek, Youngblood etc - hand written correspondences to the Vasulka’s as well as reviews and even obituaries of each artist/scientist - but history is selective and remembers according to its own algorithm. Encouragingly, not only do we find artifacts from the so called key movers of the time but also an exhaustive list of lesser, and relatively unknown practitioners waiting to be (re)discovered.

Check out the The Vasulka Archive and see what has inspired every generation of video artist. From TV to film to Music Video and club style VJing, it all started with these pioneers.

Via Data is Nature. 60s, 70s, 80s, 90s, algorithmic, alternative interfaces, analog, feedback, generative, history, retro, tools, vasulka, video art, video synths, vintage

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If you didn’t follow the discussion thread on the story, we got some very interesting — and detailed — feedback regarding why hanging projectors vertically might be problematic (or not). Extremely narrow tolerances for heat and fragile bulbs are the culprit. The ultimate bottom line, though, is that the individual projector model and its internal configuration may matter more than anything. I just heard from a technician I’m working with at Casey Systems in New Jersey that at least one projector rep indicated it was no problem, again suggesting variations between equipment.

Of course, part of why I think people haven’t spent so much time on this is that using mirrors is usually more convenient than rigging a projector to hang on its side anyway. Even fully-automated motorized mirrors aren’t that expensive, and stationary mirrors cost next to nothing.

Got a myth you’d like us to bust (or prove)? Let us know! advice, askcdm, hardware, how to, mythbusting, projection, projectors, tips

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Visualists have a wide range of skills to cover. After you’re done figuring out how to create and edit content and turn it into a performance / live installation / whatever, then you have to deal with the technicalities of projectors?

Basic calculations for throw distances are pretty straightforward: a 3:1 throw ratio, for instance, means you need 3′ from the projection surface to get a 1′ image. But that’s before you throw in all the variables: what are the specs of the projector you’re using, what’s the lens, what’s the setting of the lens, what size image and throw will provide an image that’s bright enough for the job, etc. So, while there are various calculators online, by far, my favorite is this fantastic interactive calculator at Projector Central:

Projection Calculator Pro [Projector Central]

Video artist Maya Ciarrocchi turned me on to the site (thanks, Maya)! It’s useful for two reasons, even if you’re decent at arithmetic. First, it’s got an extensive database of obscure projectors attached to it, so you’ll prepared for whatever you run into. Second, it has adjustable sliders so you can try what-if scenarios.

Won’t be long before I put all of this to use. Wednesday, I leave for Pittsburgh and the Hazlett Theater, where I’ll be in residence for a week and a half installing a custom show for choreographer Grisha Coleman, written in Processing and Java. I expect this will be a trial-by-fire for me as far as projector setup and installation, with one computer display and five projectors, all in unusual locations. I’ll be sure to report back on what I learn, including what I learn the hard way.

How about you: got a preferred method for researching projectors and projector setup? Got some killer spreadsheet for your throw distances? Let us know in comments. advice, free, how to, online, processing.org, projection, projectors, setup, tips, visualist, web

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Peter’s post on projector orientation myths prodded my memory on an issue I encountered while picking up my shiny new camera. While finalizing the lease paperwork the sales guy went out of his way to bring my attention to a slice of A4 treeware contained within the box. The text printed on it prophesized a dire future for anyone plugging a firewire cable into their camera while the computer is switched on.

Dan’s recent letter on the subject prompted me to post this to get some feedback from the visualist community. Has this happened to anyone? Has a manufacturer denied you warranty service because they say you plugged in your firewire cable backwards? Here’s the full text of the warning which came with my camera:

Sony Corporation of Hong Kong Limited
Broadcast and Professional Pacific Asia Company

Date: September 1, 2006

Precaution: i.LINK Cable Connection

- Before connecting the i.LINK cable to a computer or Sony unit, please check the direction of the jack. The i.LINK connector on the computer may be damaged or cause the unit to malfunction of you forcefully insert the jack. Please align [up arrow] mark of the i.LINK cable with [down arrow] mark on the Sony unit before insert the i.LINK cable.

- Please connect the i.LINK cable to a computer before connect it to the Sony unit. If you connect the i.LINK cable to the Sony unit first, it may cause the unit to malfunction caused by static electricity.

- When you connecting the Sony unit to any equipment with a 6-pin type i.LINK jack, always connect the cable to the 6-pin i.LINK jack first.

- When you connect the Sony unit to any equipment with a 6-pin type i.LINK jack, always power off the equipment and remove the power cord from the AC outlet while inserting the i.LINK cable. Fail to do above action may result in high current flow between the cable and the equipment, which may cause damage.

… Huh? I thought that hotplugging was part of what makes Firewire so great? Do other manufacturers have issues with this, or have Sony just done something daft in their design and not fixed it? The helpful guy I bought my camera from told me that you can buy a special surge-isolating firewire cable to prevent this, at a price of several hundred dollars. askcdm, cameras, firewire, hardware, sony

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I’ve had 2 rented Draper Cinefold screens with me on the tour. These are relatively expensive collapsible screens which we got a good deal on for a 3ish month rental. Unfortunately their former life at dance parties outside in the elements had left them with some pretty serious battle scars. One of the screen frames had a broken hinge, as did one of the legs.

This is why I don’t go Outside. Bad Things happen Outside.

These I “fixed” with gaffer tape and strips of plywood, until we had a couple of days off between tour legs and I time for some maintenance. I realised that while the screens came with drape bars to hang blacks from, they had never been used as the drapes are an extra US$1000ish, and not really required for raves out in the bush.

It was a relatively quick fix to dremel off the rivet heads from the broken and fresh hinges and to bolt the new ones in place. Requires some 6mm bolts, washers, and some nyloc nuts if you want to be extra sure that they’re not going to work their way free as the kit vibrates its way around the country in the back of a truck.

I shot a timelapse of the fix. Not really as a tutorial, as it’s not really something which requires much explanation. More as a celebration of my return to civilization, where I can waste a couple of hours shooting and motion tracking a mundane exercise.

advice, Bobby Flynn, DIY, projection, screens, SLR, time lapse, touring

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Wow. Pretty nerdy sounding, but this technology is quite impressive, and could be incredibly useful for aspect ratio conversion, object removal, rescaling, etc.

The object removal is very very impressive. I can think of a bunch of interesting uses for this, especially if you artificially mess with the weights for effect only. Id love to see this on a sequence of frames.

via reddit

Update : here is Dr Ariel Shamir’s homepage, with PDF and higher quality Quicktime. cropping, graphics, object removal, resizing, siggraph

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M-.-n aka discodirt from Arkaos land shares what happens with a camera with a dead CCD. I love (digital) trash:

The camera in question is an old, “crappy” Minolta DiMAGE X20.

See, why can’t my gear break in interesting ways? All I get is something that refuses to turn on or a tape eject mechanism that fails. (Hello, Sony!) This is, of course, a tried-and-tested method in audio recording, as well; there are countless stories of unique sounds produced from dying DATs and failing tubes.

Got some attractive results from non-functioning gear? Let us know. cameras, inspiration, oddities, video, visualists, youtube

© Peter Kirn for Create Digital Motion, 2007. | Permalink | 10 comments

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3D goodness means getting cozy with your local graphics API — and getting ready to nerd out in a big way. OpenGL continues to progress with a major overhaul. It’s a way off, but you’ve still got lots of eye candy with OpenGL 2.1. So … if you’re not Electronic Arts or Bungie, is there really any reason to use DirectX?

With the release of Windows Vista, we’ve been hearing a lot about DirectX, Microsoft’s Windows-only API for accessing graphics hardware. Of course, most of what you’ve been hearing is Windows gaming lovers complaining because they have to upgrade to Vista just to get DirectX 10 — and they take a compatibility and performance hit for many existing games as a result. (The latter isn’t DirectX 10’s fault; it’s a side effect of a new driver and display model in Vista itself, which impacts OpenGL and DX9, as well.) So what’s going on in the OpenGL camp? At SIGGRAPH, OpenGL 3 was announced. The full spec isn’t available yet, and actual OpenGL 3 hardware will be some ways off, but the future looks bright. In a presentation on the new OpenGL, NVIDIA’s Michael Gold pointed to these major hallmarks:

• Getting “back to the bare metal” for performance. This includes cutting back on overhead, streamlining the API, and actually revamping the object model in a way that should boost raw speed.
• Simpler, more efficient application development.
• Simpler driver development.

So that all sounds good. The object model appears to be the major change, with new object meta-classes that make it easier and more efficient to, well, make stuff. Good luck deciphering this at this point (I expect it’ll be easier once the real spec is out), but here’s more on the announcement, with slides:

OpenGL 3.0 Birds of a Feather at SIGGRAPH
PDF with slides, via NVIDIA’s Michael Gold

Us visualists, of course, can leave most of this to developers and hardware makers. What’s nice is that when we do want to make things look slick, we have access to a cross-platform 3D API in tools like Processing/Java, Pure Data (via GEM, etc.), and Max/MSP/Jitter.

As it happens, I’ve been looking at both OpenGL and DirectX solutions while putting together tools and frameworks to do new 3D work.

(...)
Read the rest of OpenGL 3.0 is (Nearly) Here; Why Use DirectX? (490 words)

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One of the reasons I decided against the Panasonic HVX-200 when choosing my HD camera was that there wasn’t OSX software to import P2 cards. This has now changed with Panasonic releasing P2 Contents Management Software for Mac.

A little late, and you probably already heard this via HD for Indies. You read HD4NDS, right? cameras, hd4nds, HVX, HVX200, Mac, media, osx, P2, Panasonic, storage, Workflow

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I’ll be going to this and thought I’d post it if anyone else was interested…

Softspace: Contemporary Interactive Environments

Saturday 8 September 2007, 14.00–18.00
Tate Modern, £18 (£12 concessions), booking info.

“The physically permanent identity of architecture has helped to define society for centuries. Now some practitioners have disengaged from tectonics as we traditionally understand it and are taking their discipline into the realms of ‘softspace’, a more fluid, ephemeral form of digitally-enabled design based on personalised experiences and responses. Softspace deploys new spatial systems including wearable computing, wifi, RFID and custom-designed digital software incorporating light, heat, sound and electromagnetic fields. These not only rely on people’s individual ways of interacting with them, but are enriched by narratives people contribute, creating new metaphors of use. Responsive environmental strategies of this kind have increasingly colonised museums and galleries like Tate, the Science Museum and the V&A

While the notion of a fantasy world made possible ‘on demand’ by new technologies is the theme of films like Minority Report and ExistenZ, contemporary softspace projects play a more subtle and open-ended influence on contemporary socio-spatial dynamics and our sensing abilities. Architects Usman Haque, Jason Bruges, Daan Roosegaarde and designer Despina Papadopoulos discuss the cultural implications of their work with Tate Modern curator Jane Burton and curator, author and critic Lucy Bullivant, guest editor of 4dsocial: Interactive Design Environments (AD/Wiley, 2007). Lev Manovich, the ground-breaking new media art theorist, is a keynote speaker”.

While touring around and using my mobile phone for internet I couldn’t really watch much online video. No DeK, no Motionographer, no VJKungFu, no YouTube!

So Atomic Afro’s Post your music video playlists thread on CreateDigitalNoise is a great welcome back to broadband. Afro has an impressive 118 videos in his list right now. I haven’t been on a mission like this, but have a couple accrued in my music videos youtube playlist.

I’d love to see what the visual CDM readers are digging, so please hit the forums and link us to your favourites! Community, forums, music, music video, youtube

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Every time you say you don’t believe in visualists, a bulb dies. Photo by -cr.

In an informal poll of a variety of people, I’ve been unable to get agreement on a pretty fundamental question in projection:

Is it bad for a projector to hang it vertically?

For instance, to project on the floor, your first temptation would be to hang the projector perpendicular to the ground, with the lens pointed downward. But some projectionists argue this can increase the failure rate of the projector. Why? I’ve heard to explanations: one is that it’s “bad for the electronics” and somehow unnatural and evil. That one I have an extremely tough time with: the lamp, internal electronics, and fan themselves would have to be pretty poorly put together to be unable to withstand something this simple. The most delicate electronics are all solid-state. The second argument I could believe: that airflow in the vertical position is different than airflow in the horizontal position, increasing heat and reducing the life of the projector. The obvious argument otherwise would be that the fan should still operate and convection will continue to move air around. But there’s enough doubt here that I wouldn’t want to experiment on a projector to find out.

So, brave CDMers, what do you think? Is this just a projectionist “old wive’s tale”? Or is there truth to this somewhere? (And is it best to err on the side of caution, swallow my pride, and just use a mirror?)

The answer: a definitive “yes, it is in fact bad.” I’m satisfied now in that we not only have a “just because” answer:

• Manufacturers specifically advise that this is bad.
• Airflow and lamp orientation provide specific technical reasons for why this could reduce lamp life/increase failure rates.


• Some of you have shared specific anecdotal experience.

Thankfully, mirrors easily solve the problem.

Thanks to everyone for writing in! advice, askcdm, hardware, projection, tips

© Peter Kirn for Create Digital Motion, 2007. | Permalink | 7 comments

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Ilan Katin, a close friend and GarageCUBE employee, has let me know that the developers of the Mac VJ application Modul8 are looking for a new programmer to help with the next version of their software. Think you have what it takes? OpenGL shader chops? C++ skills? Interface design? Performance optimization? The list goes on …

Read on for the job description, requirements and contact information. This is a great opportunity for any serious graphics whiz to work on a breakthrough application with an incredible team.

(...)
Read the rest of GarageCUBE, Makers of Modul8, Looking for Developer (336 words)

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DIY Gorillapod with parts from Home Depot with a Cannon HV10 attached.

I like to shoot video, but I rarely ever plan my outings - so this means I’m either carrying a lot of gear, or I’m always ill prepared. I was pleased to stumble upon some instructions for building a Gorillapod and a String-tripod/monopod - both small, light and incredibly useful tools for shooting video/film/stills gorilla guerilla stile.

There is a plethora of great instructable camera gear. My favorites so far:

• DIY String Tripod/Monopod
• DIY Gorillapod
• DIY Figrig

Check out the Film and Video Group at Instructables for more. I took a quick trip to Home Depot yesterday and made the Gorillapod and the String Monopod, for $14 - combined!

Via Make Magazine and Instructables. cameras, DIY, gear, gorillapod, instructables, tripod

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Nice work if you can get it: visualist Toby / tobyz, aka *spark, had one heck of a live visual rig for the Geneva Motor Show’s Ford booth. One ongoing challenge for live VJs is making it clear what they’re doing. Solution: “VJ Crew” t-shirts, lovely women (can’t hurt), and, of course, giant touchscreens for interfacing with the Mac software. Live visuals made the client happy (interactive text!) and made guests happy by snapping photos (happier clients!). The software rig was the glue:

• VDMX5 from Vidvox (still in beta), which looks the ideal interface for the work they were doing. Custom, modular palettes and windows also lend themselves nicely to the touchscreen.
• Quartz Composer patches, built with Apple’s free visual-patching developer tool for custom visuals, integrate directly into VDMX5. Result: a modular, custom system that works live and gets the job done!

Documentation:
Photos and notes on the install/performance
Video montage of the event

Open Source Tool for Easy, Live Titling

But you don’t have to just silently drool over this setup. Toby is nice enough to give away one of the tools he built to make it happen, open sourced so the community can improve upon it.

Spark Titler, GPL-ed Quartz Composer patch for live text titles

Quick titling? No problem. Toby describes it thusly:

the titler’s interface allows you to take between two sets of title/subtitle, with the choice of four backgrounds: black / green / a quicktime movie or a folder of images. the output window will automatically go full-screen on the second monitor if it detects one is available at launch, otherwise it will remain a resizable conventional window.

it is released with the intention that it can be reused for other events without changing a single line of code: you can design the animation and incorporate quicktime movies in the design by editing the ‘GFX’ macro in the quartz composer patch, and its a matter of drag and drop replace the logo in the interface.

And if you’re up for patching some improvements (with a little light Xcode use), you can dig into the source, as well.

Why Live and Interactive Rules

But enough about the technology. Part of the whole philosophy of this site is that we believe “rendered”, wonderful as it can be, sometimes must make room for “live.” Quartz Composer is just one of a generation of tools that allow visualists to move in this direction. It’s part of our interest not just in the “Final Cut” (ahem), but the live cut. Artists are moving in this direction for creative reasons, but it’s equally encouraging to see it working well on gigs. It’s a practical, technical issue as much as it is a philosophical one. Toby explains in a caption to a recent blog entry on his Quartz Composer titling patch (pictured here):

this picture is but a snapshot of the revolution. it really feels like that. a real let-down of the geneva motor show pre-production was the inability to translate the creative agency’s after-effects rendered text animations into the live, dynamic setup. there just was no way to implement anything vaguely sophisticated without seeing the framerate drop to near zero. structure record, something driven by video sampling and seemingly tangental [sic] to text rendering, is the key to solving that problem… and so here it is solved, as if on cue for the frankfurt motor show.

(emphasis mine)

Structure Record looks like some kind of custom patch. Not sure how it works — Toby, if you want to enlighten us, please do!

So have a look at that patch, and viva la revolución!

(Via the Quartz Composer dev list and vade.) alternative interfaces, Apple, coding, commercial, development, Mac, patching, programming, quartz composer, touch, trade shows, vdmx, visualist, xcode

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My God … it’s full of screens:

If you really want live visualism and VJing to make an impact, step one is giving your display mechanism a major upgrade. Great content and artistry matters, but without a way of communicating to them the audience — well, you musicians know what it’s like when the PA is crap and you can’t be heard.

Roger Bolton (known to many here as the creator of Quartz Composer-based Quartonian) passes along some of the brilliant work he’s been doing with Pixeladdicts, the UK-based VJ collective, events outfit, motion graphics group, and, well, generally visualist crew. This work with Younger Brother has to be about the most drool-worthy visual rig I’ve seen with live music. The Pixeladdicts site is under construction (such is the problem with having lots of gigs), but check out their YouTube page for more:

Pixeladdicts - YouTube

That’s Pixeladdicts on the install, Inside Us All doing the VJing.

By the way, Roger, if you’re out there, give us a holler — has something horrible has happened to your site/domain, mate? gig rigs, gigs, hardware, live music, music, televisions, UK, videos, visualists, VJ, youtube

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