When I first started Mirror City, I wanted to create a video that was completely out of the norm. I wanted to showcase something unique and artistic, which takes Timelapse photography into a more abstract direction. Mirror City is a visual story through some of the great American cities: Chicago, San Francisco, San Diego, Las Vegas and Los Angeles. These clips were all processed from their original form, into the kaleidoscopic visuals that you see in this video. Many people visit these large cities every day, and all of these places have been shot and filmed, but I wanted to emulate these urban landscapes in a way that nobody has even seen before. I wanted to put man-made geometric shapes, mixed with elements of color and movement to create less of a structured video, and more of a plethora of visual stimulation.
The video starts off with simple mirrors and recognizable architecture, as the video progresses, so does the visual stimulation, showing the real abstraction of the piece.
I have worked on this piece for an extremely long amount of time. I have spent time mirroring images and videos for the past five years, and I have been working on this specific piece for about four months. I felt it was time to combine Timelapse photography and the simplicity of a kaleidoscope, and create Mirror City.
For this video experiment I used the excellent Scanline Video Synth located at: http://tinyurl.com/2fw6llp
This is a Jitter version of the famous Rutt-Etra video synth: http://v002.info/?page_id=19
Very nice for experimentation.
Thank You to Robin Price!
The Clavilux 2000 is an interactive instrument for generative music visualization, which is able to generate a live visualization of any music played on a digital piano. The setting of the installation consists of three parts: A digital piano with 88 keys and midi output, a computer running a vvvv patch and a vertical projection above the keyboard.
For every note played on the keyboard a new visual element appears in form of a stripe, which follows in its dimensions, position and speed the way the particular key was stroke. Colours give the viewer and listener an impression of the harmonic relations: Each key has it's own color scheme and "wrong" notes stand out in contrasting colors.
All stripes stay and overlap each other in an additive way, so at the end a kind of pattern remains – a summary of the music – which will be always unique since the notes of the composition aswell as the interpretation of the piano player are influencing the outcome. Furthermore the piano player can switch between the standart 2d view and an additional 3d view of the visualization while playing.
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