The second video feedback test sample, Web Work, features a series of layered textures created from a moving set of bands generated by looping a Showtime Video Ventures Image Enhancer into itself, with specific positions on the Response and Enhance dials.
The feedback is sent through a Panasonic WJ-MX12 mixer (mostly to stabilize the signal) and recorded straight to DVD. Within Adobe Premiere (CS5) it's altered slightly, and then angled and layered. The blue colour that strikes a lower layer in the video's midsection like lightning seems to come from a series of hidden colour bursts that emerge when colour settings are adjusted.
The digital tweaking in Premiere doesn't alter the effect of the textured feedback, especially since the wavering seen at the beginning of the video is part of the original analogue signal. This test was an exercise in creating video noise within a component, and building a complex, moving series of patterns through additive / subjective layers.
Its effect may hypnotic, headache-inducing, or mind-numbing (especially when you relax your gaze as the geometric pits within the patterns shift, darken, or wobble). Further information on the gear and the creative processing in my noodle is detailed at Big Head Amusements (see bigheadamusements.com/wordpress/?p=554).
This is the first in a series of test samples featuring feedback between analogue tube and old CCD video cameras, at least one vintage mixer, and old prosumer gear, plus some digital fiddling in the end.
Test 001, Blue Plasma, is divided into two sections. The first features silent footage from a 1982 JVC GX-77U Vidicon tube camera fed into a Panasonic WJ-MX12 mixer and looped through the mixer's input B to achieve feedback resembling waves of pastel colours. After dumping the DVD of recorded footage to the hard drive, I punched out all colours using Adobe Premiere, except blue to get the free-form blue glow.
The second section (also silent) looks the way it does primarily due to the many dying capacitors in a 1991 Sony V-801 Hi8 camcorder, which started to go bad around 2007. The camera's 'issues' are further detailed at Big Head Amusements (see bigheadamusements.com/wordpress/?p=475).
As it films itself off a monitor, the camera's completely unstable S-VHS output is fed into the Panasonic mixer, looped out into a vintage Showtime Video Ventures Image Enhancer, and using its dials, the degree of feedback is somewhat controlled. The results are sent back into the mixer, where the footage is overlaid and then recorded straight to DVD.
Using Premiere, all colours except blue are punched out, and the footage is duplicated, layered, delayed, and a minor filter is applied to created more extreme contortions, although all the flittering and jittering is the result of the Sony camera's bad signal, and the Panasonic mixer's efforts to stabilize it.
For more info and images of the gear used for the test, please visit the aforementioned link.
A 1983 JVC GZ-S5 saticon video camera is aimed at a standard LCD monitor, and its signal is routed into a 1968 Sony SEG-1 B&W mixer with no fixed sync. That signal goes into a 1987 Panasonic WJ-MX12 mixer, where it's tinted, stabilized, and recorded to DVD prior to being layered in Adobe Premiere.
This short test, alongside Test 003 b, is purely to create layers of rolling lines and patterns with variable speeds, densities, and aberrations. Further information on the gear is detailed at Big Head Amusements (see bigheadamusements.com/wordpress/?p=632).