10.16.2010

Another slightly new direction






These might look good in vertical, portrait orientation as well.

12.14.2009

Merkaba Visuals with The Great Mundane

The Great Mundane at Rodan, the 8:3 material
November 21, Living Sundays, Chicago.



A fine night it was, we came ready to record hours of original material. These are strong 4 minute segments, suitable for online viewing. Performance visuals are a challenging form to document, as they are embedded in the vibe and momentum of the night, the chemistry between the artists and the crowd, the scale of the live projection and the mass of a big soundsystem. The fluidity and indefinite duration of a performance is also impossible to convey in webvideos, compressed in scale and klipped out of time. But, like photographic documentation of sculpture or dance, you can hopefully get a sense of what we were up to.

I was playing SD downsamples of my 1600x800 8:3 klips, and SinR8 was digitizing the mix via a DAC into his hackintosh.

VDMX beta 7.4.5 gave off a little weirdness, when an interface window refused to update itself, but playout was unaffected. Very few gremlins for such a deep, expandable performance software, but they do like to appear at the venue for some reason.

These segments are all straight, no realtime effects or audio reactive inputs, just like I used to do it in GRID.

10.10.2009

Process and Progression

Here is a bit of the iterative process these recent 1080p loops went through, in roughly a reverse chronology. There was some emergent iridescence in the later stages that I tried to enhance - and I also added some more of the thin, engraver-like 1 pixel lines for texture and detail.













10.09.2009

Deeper into HD, the 1920's











Seemingly, the simple formal symmetries allow the color harmonies to shine. Seamlessly looping, they have their uses. A few have even been selling over on pond5. Seen in full 1080P, these are just utterly unabashedly lush.

9.17.2009

For your Portrait mode needs




HD in vertical mode, 1 on either side of the stage, I was thinking this kind of material would look good, with the perspectival lines leading back and down to the performers. . .