GMU:Audio+Video projekte - Revision history

Max at 10:35, 30 April 2010

2010-04-30T10:35:39Z

← Older revision		Revision as of 10:35, 30 April 2010
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	#REDIRECT [[GMU:Audio+Video/projekte]]		#REDIRECT [[GMU:Audio+Video/projekte]]

	~~[[Category:Projektliste]]~~
	~~[[Category:Dokumentation]]~~
	~~[[Category:WS09]]~~
	~~[[Category:Max Neupert]]~~

Max: Redirected page to GMU:Audio+Video/projekte

2010-04-30T10:32:04Z

Redirected page to GMU:Audio+Video/projekte

Show changes

Anjae at 21:47, 29 April 2010

2010-04-29T21:47:52Z

← Older revision		Revision as of 21:47, 29 April 2010
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	Das patch soll später ausgebaut werden um selbst erzeugte Schattenbilder/-bewegungen<br>		Das patch soll später ausgebaut werden um selbst erzeugte Schattenbilder/-bewegungen<br>
	live in eine Klangumgebung zu transformieren und zu verräumlichen.<br>		live in eine Klangumgebung zu transformieren und zu verräumlichen.<br>
	~~(z.Bsp für: [http://web.uni-weimar.de/medien/wiki/RADIO:Luftikus Installation with paper and fans])~~

	====Klanggenerierung====		====Klanggenerierung====

WSebastian: /* Sebastian Wolf: Applaus */

2010-04-20T21:16:21Z

Sebastian Wolf: Applaus

← Older revision		Revision as of 21:16, 20 April 2010
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	* John Tonkin Time and Motion Study 2006		* John Tonkin Time and Motion Study 2006

	==[[User:~~Zwolle~~\|Sebastian Wolf]]: Applaus==		==[[User:WSebastian\|Sebastian Wolf]]: Applaus==

	Ziel soll ein patch sein, der aus '''einem''' in-die-Hände-Klatschen '''etliche''' macht, aus dem Applaus einer einzelnen Person den einer Menschenmasse.		Ziel soll ein patch sein, der aus '''einem''' in-die-Hände-Klatschen '''etliche''' macht, aus dem Applaus einer einzelnen Person den einer Menschenmasse.

Max: /* Cédric Richard : MusicPainter */

2010-04-15T16:25:08Z

Cédric Richard : MusicPainter

← Older revision		Revision as of 16:25, 15 April 2010
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	So I decided to use this problem to solve an other problem, the fact that colors were more or less the same for each tunes. I used the [part_targetcolor] object to get nuances in color changes. So the colors doesn't act on the good forms, but finally, as the most important is movement for me, it's not so important. The main aim is to create a global animation following music. In a musical composition, the instruments play together and create one main feeling. It's the same I do. '''When an instrument play higher, even if its color evolve on another form than the correct one, the watcher will notice a visual changement linked to an audio changement.''' Even if he can link himself wich form corresponds to each instrument, it's not the most important. The main element is the global one.		So I decided to use this problem to solve an other problem, the fact that colors were more or less the same for each tunes. I used the [part_targetcolor] object to get nuances in color changes. So the colors doesn't act on the good forms, but finally, as the most important is movement for me, it's not so important. The main aim is to create a global animation following music. In a musical composition, the instruments play together and create one main feeling. It's the same I do. '''When an instrument play higher, even if its color evolve on another form than the correct one, the watcher will notice a visual changement linked to an audio changement.''' Even if he can link himself wich form corresponds to each instrument, it's not the most important. The main element is the global one.
	To use pitch information I use the '''[~~sigmung~~~] object'''.		To use pitch information I use the '''[sigmund~] object'''.

	2/''Amplitude and Attack''		2/''Amplitude and Attack''

Cédric Richard: /* Cédric Richard : MusicPainter */

2010-04-15T15:19:06Z

Cédric Richard : MusicPainter

← Older revision		Revision as of 15:19, 15 April 2010
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	- the particles don't turn on themselves.		- the particles don't turn on themselves.

	//''[Drums]''		//'''[Drums]'''
	This abstraction works with particles, but those ones don't turn around the center.		This abstraction works with particles, but those ones don't turn around the center.
	Y position : Pitch (randomly between 2 and 4 or -2 and -4, it can change after each attack).		Y position : Pitch (randomly between 2 and 4 or -2 and -4, it can change after each attack).
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	'''Player :'''		'''Player :'''

			'''You can download the patch here : [[File:MusicPainter.zip]].'''

	[[File:MusicPainter_Player.jpg]]		[[File:MusicPainter_Player.jpg]]

Cédric Richard: /* Cédric Richard : MusicPainter */

2010-04-15T15:17:08Z

Cédric Richard : MusicPainter

← Older revision		Revision as of 15:17, 15 April 2010
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	[[Image:musicpainter_exemples.jpg]]		[[Image:musicpainter_exemples.jpg]]


	<videoflash type="vimeo">10915919\|400\|265</videoflash> <videoflash type="vimeo">10914603\|400\|265</videoflash>		<videoflash type="vimeo">10915919\|400\|265</videoflash> <videoflash type="vimeo">10914603\|400\|265</videoflash>

Cédric Richard: /* Cédric Richard : MusicPainter */

2010-04-15T15:15:44Z

Cédric Richard : MusicPainter

@@ Line 42: / Line 42: @@
 '''Work :'''
-/''the Pitch''
+/''the pitch''
 I started with a serie of patches isolating each note from 3 octaves. Each note was linked to one form, and amplitude made it bigger or increased its opacity. I tried diffrent sources of sound to test them, like tunes of music or my own voice. But due to the harmonics, I had difficulties to isolate this way the pitch, even with filters. For exemple, with my low pitched voice, it gave more result on quit high pitched voices, whereas  higher voice could have more influence on elements linked to lower notes.
@@ Line 52: / Line 52: @@
 That's why I decided to give less importance to pitch in my work, and tried to work more on other audio informations : ''amplitude'' and ''attack''.
-I also understood that movement (in space or by size changement) was more importante to follow the music, especially when it's linked to the rythm. So I prefered making the pitch acting on color changements. But I had an other problem.  Working mostly on particles, my diffrent absractions (one for each instrument) using particles switched their color information. Guitar's colors were sent to drums' forms, drums' colors sent to strings, etc...
+I also understood that '''movement (in space or by size changement) was more importante to follow the music''', especially when it's linked to the rythm. So I prefered making the pitch acting more on color changes than on movement. But I had an other problem.  Working mostly on particles, my diffrent absractions (one for each instrument) using particles switched their color information. Guitar's colors were sent to drums' forms, drums' colors sent to strings, etc... I tried to switch myself the color part of each abstraction following this way. But it was still unstable. For exemple if I use 5 abstractions for five audio sources on 6, it's switched again.
 ==[[Dominique Wollniok]]: _VerkehrsMalerei==

Cédric Richard: /* Cédric Richard */

2010-04-15T14:08:09Z

Cédric Richard

@@ Line 34: / Line 34: @@
-==[[Cédric Richard]]==
+==[[Cédric Richard]] : MusicPainter==
-Projekt : My aim is to create a player patch, using multitracked musics to create a numeric and animated painting.
+'''Projekt :'''
 ==[[Dominique Wollniok]]: _VerkehrsMalerei==

Cédric Richard: /* Cédric Richard */

2010-04-15T09:34:47Z

Cédric Richard

← Older revision		Revision as of 09:34, 15 April 2010
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	==[[Cédric Richard]]==		==[[Cédric Richard]]==

			Projekt : My aim is to create a player patch, using multitracked musics to create a numeric and animated painting.

	==[[Dominique Wollniok]]: _VerkehrsMalerei==		==[[Dominique Wollniok]]: _VerkehrsMalerei==
	Verkehrsstraßen sind die Adern einer Stadt. Besonders im Dunklen zeichnen Autos diese nach. Motor-Geräusche überlagern sich und man bekommt den Eindruck von einem rauschenden Meer.		Verkehrsstraßen sind die Adern einer Stadt. Besonders im Dunklen zeichnen Autos diese nach. Motor-Geräusche überlagern sich und man bekommt den Eindruck von einem rauschenden Meer.