Live Character Animation Using Maya And Touch Designer

"Frog from Maya into Touch Designer controlled by Logitech Gamepad interactively"

DMAX: DMX512 control from within Ableton

"If you’re a musician using Live then you can program in your light show in the same environment that you’re programming your music in. And because you can do it as you’re composing, the lighting can be an integral part of the music rather than something tacked on afterwards. When you're performing live, why rely on someone else to interpret your music into lighting events? Simply add DMaX devices to your set and program some modulation data alongside your clips. The effect of perfectly synchronised sound and light is very effective, and your lighting will always stay in sync because it's running from the same system as your music. You can also time events to certain MIDI or audio triggers, for example, by making a strobe flash on every bass drum hit. Outside of direct musical performance, one of my main uses has been to control lighting for dance performances. By importing the performers' backing track, and warping it in slave mode, you can see where the beats are and automate your lighting parameters alongside for beat-synced effects. These are just a few things you could do, the possibilities opened up by this integration are endless."

Python + Maya by Rodrigo Araujo

"It’s possible to access every attribute of any of the nodes on the scene, to create key frames and make complete animations through one script and to access many of the tools provided throughout the menus.

One quick example is how to create a bouncing ball animation."

Listening: Looking at Music and Conversation in the Space

Danny Wright from Barker DZP on Vimeo.

FAVI RioHD-LED-2 Mini Projector with HDMI & VGA $199

Amon Tobin 'ISAM' Live (Extended Trailer)

Sony Smart AR

"Sony has developed integrated ‘Augmented Reality (hereafter referred to as ‘AR’) technology’ called as “Smart AR.” When capturing visuals through a camera on a device such as a smartphone, the technology enables additional information to be displayed on the device’s screens such as virtual objects, or images and texts that cannot be identified by visual perception alone. The technology employs the markerless approach, forgoing any requirement for special markers such as 2D barcodes. The object captured by the camera is quickly recognized and can be tracked at high-speed along with the movement of the camera, as it is displayed over the actual 3D space."

Milkymist

"The Milkymist One is an open hardware product that concentrates all the processing power and the interfaces of an heavily interactive VJ setup into one small box. With a unique combination of built-in interfaces such as MIDI, DMX512, analogue video input, Ethernet, OpenSoundControl and generic digital I/O, it gives you all the tools to create truly interactive performances.
With the Milkymist SoC, the project pushes the frontiers of open source further. While many open hardware projects are based on a proprietary and closed processor, at the core of the Milkymist One lies a custom embedded processor whose Verilog HDL design files are entirely free and open source.






All of this would never be usable by everybody without user-friendly VJ software optimized for running on the system. Inspired by the popular MilkDrop visualization plug-in for Winamp, Flickernoise provides a graphical tool that allows you to create, set-up and run the visual performances."


http://milkymist.org

Point Zero Three and MusSck

[alkv001] Valance Drakes aka MusSck - Proximity [video by point zero three] from Valance Drakes on Vimeo.

point zero three

Compositing

"Compositing is the combining of visual elements from separate sources into single images, often to create the illusion that all those elements are parts of the same scene. Live-action shooting for compositing is variously called “blue screen,” “green screen,” “chroma key,” and other names. Today, most, though not all, compositing is achieved through digital image manipulation. Pre-digital compositing techniques, however, go back as far as the trick films of Georges Méliès in the late 19th century; and some are still in use."