This is an experiment to analyze various frequencies of the given audio file in After Effects without using any 3rd Party Plugins. The Particle reactor is build using CC Ball Action and the wave map is generated using 'Wave World' in After Effects. Audio analysis is done using 'Audio Spectrum' effect and sampleImage() expressions.
My time lapse film "Technicolour Alaska" (vimeo.com/alexiscoram/alaska) was published by National Geographic this past weekend. That recognition inspired me to go back to the film and experiment with my footage. Technicolour Dreams is the result of that work.
If Technicolour Alaska represented the love I feel for the natural world in it's true and raw sense, Technicolour Dreams taps into the leaping, head-spinning, heart-pounding, soul-igniting joy that I try desperately to [and mostly fail at] expressing outwardly. This film is the abstract version of my inner extrovert and is part of my ongoing experimentation with photography, time lapse, and personal growth.
I kept the same music as in my previous film because...James Everingham. He's one of the best composers I know, and let's face it, our films are nothing without the poetic music that injects our imagery with a little more life.
If you're looking for visual stimulation, this is a party for your eyes...I hope it makes your smile.
The basic idea of the project is built upon the consideration of creating
a moving sculpture from the recorded motion data of a real person. For
our work we asked a dancer to visualize a musical piece (Kreukeltape by
Machinefabriek) as closely as possible by movements of her body. She was
recorded by three depth cameras (Kinect), in which the intersection of the
images was later put together to a three-dimensional volume (3d point cloud),
so we were able to use the collected data throughout the further process.
The three-dimensional image allowed us a completely free handling of the
digital camera, without limitations of the perspective. The camera also reacts
to the sound and supports the physical imitation of the musical piece by the
performer. She moves to a noise field, where a simple modification of the
random seed can consistently create new versions of the video, each offering
a different composition of the recorded performance. The multi-dimensionality
of the sound sculpture is already contained in every movement of the dancer,
as the camera footage allows any imaginable perspective.
The body – constant and indefinite at the same time – “bursts” the space
already with its mere physicality, creating a first distinction between the self
and its environment. Only the body movements create a reference to the
otherwise invisible space, much like the dots bounce on the ground to give it
a physical dimension. Thus, the sound-dance constellation in the video does
not only simulate a purely virtual space. The complex dynamics of the body
movements is also strongly self-referential. With the complex quasi-static,
inconsistent forms the body is “painting”, a new reality space emerges whose
simulated aesthetics goes far beyond numerical codes.
Similar to painting, a single point appears to be still very abstract, but the
more points are connected to each other, the more complex and concrete
the image seems. The more perfect and complex the “alternative worlds” we
project (Vilém Flusser) and the closer together their point elements, the more
tangible they become. A digital body, consisting of 22 000 points, thus seems
so real that it comes to life again.