I’ve had this project in mind forever and I just cannot keep it out of my head now. It has to live and breathe. Here comes a serial of indeterminate length, about two famous travelers and what happens when they meet.
I cannot guarantee a regular upload but my intent is to upload something new about every other week. As I feel interest going I will continually build outward.
I ended up creating a separate thread for ‘Recalculating’, but in addition to misnaming it I don’t think it’s really all that useful to create individual threads for each episode. So I’m merging all content here.
So here is a repost of Episode 1:
Episode 2 is coming in a minute.
Here is Episode Two: Tecnologia Muerta.
Basement Films members, including me, built a float out of ‘dead technology’ (film strips, audio cassette tape, etc) and paraded it for Dia de los Muertos. I was official cameraman on documenting it.
is it me or is the picture jumpy?
It’s handheld. Hard to keep straight.
I took the footage through some stabilization and YouTube offered to stabilize it further, but frankly there’s only so much you can do. In order to counter that effect with a DSLR one typically requires a DSLR rig from some company like Cinevate or Red Rock. I have no such rig at this time.
Episode 2.5: DeadPixels
Finally tried my hand at datamoshing. Decent results, next time I will keep the clips shorter and plan ahead with patterns and in-camera wipes that will really help the transitions.
Shakiness the result of being imported and exported through like five different programs. I’m going to have to figure out some new workflow for this technique because I want to use it in another video later this year.
Here, have it at a size you can actually see. Jesus….
Will be publishing my edit of this in April (a little later than expected)
GF1 — Stereoscopic Metatron
GF2 is going to involve some James Joyce spoken word.
1) Shuffle the sentences around completely and then subtitle the result?
2) Write subtitles for the performance that mistranslates the words to something else?
or 3) Partially obscure/obstruct the subtitles with the visual elements of the documentation?
I only want to do one of these three, not a combination.
Had to remove Typographical Jazz, as the imagery projected I thought was public realm but apparently isn’t. I might replace it with other imagery but I’m not entirely sure.
the music of metraton reminds me of the grateful dead
Yeah, that sort of ambient stoner rock style is pretty common for projection performances, as well as broken-instruments noize. I do admit it’s a lot more fun to be live audience to than watch on a little screen, but I really wanted to do something with this documentation.
…..that was cool, how was it done?
It’s six layers.
The top three are red/blue/green channels for saturation, I was actually specifically aiming to achieve something like this:
I’m trying to recreate three-color print processing in digital, which technically is impossible because printing is subtractive and digital video is additive, meaning when I split the channels white turns out to be 255 green, 255 blue, 255 red, when it should be 0 0 0. I’m still working on that and trying to figure out some conversion I can do. Simply using subtractive blending doesn’t cut it, the image turns out black.
So more experiments will be had from that. I’m going to have to figure out some way of getting all the red out of red things without getting all the red out of white things, for instance.
The next two layers are the original image with displacement maps. I had already tried using the displacement maps on the RGB layers to also recreate that imperfect layering indicated by the photo and it was working well, but I ended up having too much fun cranking the displacement to higher numbers than they were intended and sending pixels flying all over the screen. So last night after a few hours of doing that, I decided to try animating the displacement map underneath the three layers. It looked good, but like the video was melting downward, so I created a second layer and reversed the direction so that it looked like it was stretching.
Finally, it just looks like pixels flying everywhere, it doesn’t look ‘solid’ so to speak, so I tried bluring separate layers and it wasn’t working. So I added an adjustment layer and a Gaussian blur, and animated the Gaussian blur to increase over time.
Thus the first frame is the sharpest, most arranged layered image I can achieve in this process, and the last frame is the most distorted. The length of the clip is the original length of the clip, there’s nothing special about how long I’m processing these images.
Rendered it out, it took a few hours. I went to sleep and posted it this morning.
Okay, so, Photoshop?
RBG is weird that it is additive – I just stared screwing around with this.
In a still image, I would just layer the parts as I wanted them.
The one above looks like it is just desaturated – there’s probably a preset for it as an action.
Yeah, what I thought – that could be had with a Lomo preset (action).
Here is what lomo looks like
Click on the right arrow and the next image has similar tonality to the one you have.
“Okay, so, Photoshop?”
After Effects, but for the most part the tools are the same.
" RBG is weird that it is additive – I just stared screwing around with this."
It’s not weird, really. Video (and film) is playing around with captured light, which is inherently additive. R+G+B = White. Printing and painting is playing around with refracted light, which is inherently subtractive. R+G+B = Black.
Additive color wheel:
Subtractive color wheel:
The look I’m going for has less to do with the desaturation, which is a side effect of the print being old. Just look at the edges of the print and how you can see the primary colors on the border. The original print would have been more colorful, it’s just old.
Finally, do you understand alpha channels yet? An alpha in subtractive would be for white space, because it was to be printed on white paper, whereas an alpha in video is black space. That’s where my inherent idea to reverse engineer REALLY breaks down. I can make decent composites of RGB space in a subtractive manner, but I would end up with the sky in that shot, for instance, looking entirely black and the shadows falling out. If I do an additive function, the whole image ends up turning up white, except in some cases on the shadow.
I played around with it more today and feel even more confused. I’m going to have to think of another way of jailbreaking this method and it might have to be an expression or even downright coding. But in the meantime I keep discovering effects that may be useful for other purposes.
Also, keep in mind that I’m aware that magenta, cyan, and yellow are the primary colors of subtractive processes, though I haven’t really figured out what to do about that quite yet.
That’s where my inherent idea to reverse engineer REALLY breaks down. I can make decent composites of RGB space in a subtractive manner, but I would end up with the sky in that shot, for instance, looking entirely black and the shadows falling out. If I do an additive function, the whole image ends up turning up white, except in some cases on the shadow.
What I would do is make a layer of the sky as a I wanted and the rest would be in the ‘subtractive manner’ or ‘additive manner’.
Two different images, but it would be easier for you because you are just adjusting part of the same image.
You’re using channel mixer:
Why not use something like hue/saturation?
Not yet had the need for alpha channels for color – but if I knew how to use them for color, I would probably find a need.
Episode 3: Robinson and Krasna Meet.
The more narrative part of this project begins. A few more episodes to arrive featuring their settling in, and then a villain will appear.
Not sure how this has remained off my radar, but I am intrigued by those last 2:36 minutes. I’ll be catching up.
“Not sure how this has remained off my radar, but I am intrigued by those last 2:36 minutes. I’ll be catching up.”
Yeah, this is a long term, slow boil project I’m working on. It’s going to carry me through a lot of years and many side alleys. I have only the characters, my thoughts, a GoPro camera (or whatever I end up getting my hands on), and the desire to shoot and edit more social events and public spaces to string out what I hope to be a multi-hour epic.