1. Soundreactive Videomapping Installation @ PDJ.TV


    from Licht.Pfad Studio Added 1,424 27 0

    This movie show our installation produced with AutoVJ Machine v 0.2 based on Derivative TouchDesigner. Auto VJ Machine mixes 6 FullHD streams based on Beat and Spectrum Analyse of incoming Music. It has a User Interface for not experienced Operator, which gives a control to all aspects of Mapping. Actual daily results you can see at online streaming at http://promodj.com/tv/one Deco Design, Videomapping & Programming: Licht.Pfad Camera: Margo Kudrina Music: Prcdrl - Metall Thing

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    • Using the Web DAT to bring in xml data (rough tutorial)


      from Richard Burns Added 738 31 3

      Myself and Ian go through how to bring the BBCs news feed into TouchDesigner.

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      • Image effect


        from Michael Holub Added 7 0 0

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        • One of first touchdesigner sketches


          from Michael Holub Added 21 0 0

          experimenting with quads and sound

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          • PHYSICAL (RTv3) [Excerpts]


            from Matthew Biederman Added

            A/V Performance 2013 A: Alain Thibault - http://alainthibault.com V: Matthew Biederman - http://www.mbiederman.com -------------------------------- Please Note - Vimeo (or any online compression schema) really does not like the fine detail and subtle movement of the visual side of this work. For a better visual experience, download the file to your computer and watch locally. For the best possible experience you'll have to see it live. Check our websites for details. --------------------------------- The title of the work refers to the physicality of the perception of sound and image and explores the liminal edges of perception where the division of the senses begins to dissolve. By using techniques which overload the eye and ear, the work asks the question of where perception actually occurs – in ones head, or eyes, or ears – or quite likely, it is a more complex relationship than that. According to recent theories of perception, namely by neuroscientist Alva Nöe (University of California, Berkeley) perception in the past has been regarded as something that happens ‘in one’s head’ however, Nöe states that perception is something that we experience with our entire body – and only through this ‘embodied perception’ do we truly sense the world. Physical then, by using visual tropes such as moiré patterns, flickering, and absolute synchronicity with the audio track, builds upon these theories to deliver an overall experience of a work which is not totally a visual one, nor an aural one, but begins to define an experience where the sound and vision are one and the same – a singular unit extended and manipulated through time. From a historical perspective, the work expands upon many early ‘visual music’ works as well as contemporary practices such as James Whitney’s “Lapis” (1966) and Oscar Fischenger’s ”Kriese” (1933-34). In the case of “Kriese”, Physical relies on abstract geometrical, patterned light in order to build a dramaturgy comparable to the sonic composition where specific sounds trigger particular movements and shapes. In reference to “Lapis”, Physical visually works with an abundance of visual patterns to create a larger, more complex perceptual effect. Within contemporary practices, there is a long history of audio visualization, however Physical breaks free from this paradigm by its outright avoidance of any spectrograms or similar visual cues, and instead creates a cosmology of the shapes, colors and patterns within the visual content to carry the composition. Technically working from the audio composition and receiving real-time data streams the visual component is entirely generated in real-time, with nothing but the underlying code as pre-recorded material, hence each iteration fo the performance is unique. Physical (RT) has been performed at the following festivals: Mois Multi, Quebec City 2013 BOZAR Electronic Arts Festival, Bozar, Brussels 2013 ART+COMMUNICATIONS, Spikeri Concert Hall, Riga 2013 Physical (linearis) - a linear version for extreme high resolution (4K x 4K) dome display has been presented at: Understanding Visual Music, Buenos Aires 2013 MUTEK.MX, Mexico City 2013

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            • Cube2.0 Installation @ New Culture Festival - Central House of Arts Moscow


              from Licht.Pfad Studio Added 899 19 0

              This movie presents our new interactive soundreactive installation. It`s recorded at the New Culture Festival at Central House of Arts Moscow. Installation created with 2 Kinects and programmed in Derivative TouchDesigner in cooperation with Levan Chayanov.

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              • Glasspiel - Carbon Capture Storage - Interactive Model


                from interactivedesign.it Added 1,023 16 0

                La cattura e lo stoccaggio di CO2, o CCS (dall’inglese Carbon Capture and Storage), è una tecnologia innovativa, che permette di catturare la CO2 dai fumi degli impianti industriali e stoccarla in modo sicuro e permanente. Per mostrarne il funzionamento e l'efficacia del sistema, sia un plastico che una applicazione touchscreen non sarebbero stati efficaci. Abbiamo quindi pensato di illustrare tutte le fasi del processo implementando un plastico reale con uno schermo interattivo. Il plastico disposto sulla parte superiore del monitor (HD TV 65 inch + cornice multitouch a infrarosso) si integra con il suo contesto naturale realizzato in 3D animation. In corrispondenza con le varie componenti dell'impianto di stoccaggio sono inseriti deile aree sensibili che ne illustrano il funzionamento. Il modello del plastico è stato realizzato in perspex trasparente e l'applicativo sviluppato con TouchDesigner. Visual Programming: Glasspiel (http://www.glasspiel.it/) 3D Animation: Studio Aira (http://www.studioaira.com/) ----------------------------------------------------------------------------------------------------------------------------------------------------- Carbon Capture and Storage, is an innovative technology that allows to capture CO2 from the gas of industrial plants and storing it safely and permanently. To show the operation and effectiveness of the system, we decided to illustrate all stages of the process by implementing a plastic model with an interactive screen.The model placed on top of the monitor (HD TV 65 inch + multitouch infrared frame) is integrated with its natural environment made in 3D animation. In correspondence with the various components of the plant are inserted interactive buttons which illustrate the system. The model is made in transparent perspex and application developed with TouchDesigner. Visual Programming: Glasspiel (http://www.glasspiel.it/) 3D Animation: Studio Aira (http://www.studioaira.com/)

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                • TouchDesigner tracking experiments


                  from Louis d'Aboville Added 747 14 4

                  Goddamn TD is crazy. Started experimenting with trying to make some new interactive projection software last night and ended up with this after only a few hours work. Getting to this point with OpenFrameworks took me weeks if not months! The framerate is a bit sketchy, especially at the end as I didn't have any screen capture software installed, so I just pumped a screengrabTOP into a movieoutTOP Music : Evenings - Babe (Shigeto remix) https://soundcloud.com/evenings

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                  • "Forest Off" work in progress, performance: Arcadia, Melzo july 2013


                    from akipix Added 571 20 0

                    interactive 3d virtual set for dance production kinect and TouchDesigner, realtime 3d visuals: Andrew Quinn http://andrewquinn.org/ concept: Caterina Vianello Visual consultant, light design: Alessandro Chiodo Dancers/choreography: Daniela Cono, Alessandra Serraglio Music: Piernicola di Muro, sound design: Roberta d'Angelo

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                    • Singularités – Intentions


                      from Singularités Added 1,475 27 0

                      Sinan Bökesoy / Thierry Coduys / Guillaume Jacquemin / Johan Lescure ABB IRB120 / Cosmosƒ / IanniX / TouchDesigner En robotique, la singularité est un point de l’espace que le robot ne peut atteindre. Contraint par ses moteurs, la rigidité de ses axes et l’(im)puissance des équations à multiples inconnues, le robot n’a de cesse que d’atteindre et respecter les consignes données par son opérateur. Pour se rendre d’un point A à un point B, il met en œuvre toute sa souplesse, ses capteurs, ses algorithmes, ses équations et modèles mathématiques, bref son intelligence embarquée afin d’éviter la plus redoutable des situations : la singularité. Elle est une des positions spatiales dans laquelle le robot s’enlise, ne peut s’en extraire, ne sait plus comment se mouvoir pour en sortir. En posture de handicap total, le robot s’en remet à l’opérateur qui manuellement, le repositionne. La pièce « Singularités » utilise comme matériau les déplacements d’un robot — chef d’orchestre — dans un espace intrinsèquement balisé de singularités. Une série de capteurs (angulaires, caméra, lasers…) surveillent les déplacements/évitements de singularités de ce cobaye mécanique et contrôlent la synthèse sonore en temps réel. Un dispositif de video mapping laisse entrevoir les aspérités de cet espace-temps d’apparence linéaire pour l’humain, mais semé d’irrégularités pour un robot contraint par la rigidité de ses déplacements.

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