The videos are tests and will not be visible in this form in the
finished project. They only give an account of research carried out
continuously during each session of about two weeks. They were recorded
the end of each residency.
This work of experimenting with the software library allows me to
understand, to evaluate (when possible) how the software calculates
visually reacts to the code I am writing. Thus ultimately I will
able to choose the brackets of the parameters (in digital image,
is parameter, and then potentially variable). Those parameters will
mixed in the final programme so that they will generously interfere.
The intermittent red arrow is necessary to activate the link
to control the
keys of the keyboard. I can then modify while recording video, and,
according to the code I wrote during tests, the place of a shape,
transparency, the importance of the fog (coloured mass), background
My interventions on the keyboard sometimes cause discontinuities.
these nor the arrow are likely to be visible in the realised project.
Stages presented below lead to real time video recordings and build Where It Wants to Appear/Suffer.
1rst session : tests on animation and on transparency.
Discovery of real time constraints (and of joys of programming).
2nd session : tests on matters and on fog.
The notion of matter can cover not only that of texture or mapp,
of transparency. A texture will not act in the same way on a form
almost transparent : one can see on occasions the other form or the
A dark fog generates a darkening effect, variable in space and in
can be found in the background, and the form disappears when it becomes
distant from the viewer. The fog can also be set around the viewer
form will become darker if the camera (the point of view, the viewer)
3rd session 9-20 july : tests on lights
3D lights are complex objects. They can belong to different types
directional or spot. With each of them, the code allows one to control,
among other things, direction, intensity and colour. They may or
may not be
switched on together.
Their own parameters react to those of the lit form (called material)
according to values of brightness, opacity, speculare, diffusion,
ambiance, with, for the last of these four, r,g,b (red, green, blue)
values. Mapp parameters (wireframe mapps or not) also interfere with
parameters, blending the polygons' colour (of the form) with that
mapp, and even with that of the light in a big soup.
Does a big set of parameters give a higher control or does it bring
more confusion in the attempts/temptation of control ? The importance
values that are not foreseen in the " documentation " or
that are not
realistic in the sense of the concrete world (negative intensity
of a light,
or of the material parameters). A green light can thus "light" in
black, in red, in yellow, in blue, according to the parameters of
All lights shut, one must still be ingenious and play with the materials
get a real black form...
4th session :
At lastAt last the pleasure of discovering a few of the things that
one was looking
for. Hours spent looking, testing, getting lost. To grasp again.
To try to
Realisation of a few sequences along which certain visual events
Development of bigger and brighter textures, wireframed or not.
Use of variable types of light, colour, intensity, position, together
separately, sometimes joined to a colored fog, dark or bright.
Fixing the spot light on the point of view or camera. Group of 2
or 3 grids
simultaneously animated bringing complexity, crevace.
Locating the point of view in the " folds ", in the forms'
according to the situation. Studying the slowness of the movement.
the cinematics to vary in time the speed of points.
Recording as a video archive of an hour of tests.
Aim : to look for partners in Paris/Ile de France, and to realise
production file in order to seek out some financial assistance.