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Into the Hollow of Darkness
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Where It Wants To Appear/Suffer
Video realised with the rushes archived at the end of the residency.

Archive, page made in Summer 2001
First stage of Into the Hollow of Darkness : summer 2001, 2 months residency at CICV, Pierre Schaeffer Center.
My thanks to Ivan Chabanaud.

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 at the end of each residency.
This work of experimenting with the software library allows me to see, to understand, to evaluate (when possible) how the software calculates and visually reacts to the code I am writing. Thus ultimately I will be better able to choose the brackets of the parameters (in digital image, everything is parameter, and then potentially variable). Those parameters will then be 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, its transparency, the importance of the fog (coloured mass), background colour...
My interventions on the keyboard sometimes cause discontinuities. Neither 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, but also of transparency. A texture will not act in the same way on a form which is almost transparent : one can see on occasions the other form or the background. A dark fog generates a darkening effect, variable in space and in time. It can be found in the background, and the form disappears when it becomes more distant from the viewer. The fog can also be set around the viewer : the form will become darker if the camera (the point of view, the viewer) comes closer.



3rd session 9-20 july : tests on lights
3D lights are complex objects. They can belong to different types : ambiant, 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, emission, ambiance, with, for the last of these four, r,g,b (red, green, blue) values. Mapp parameters (wireframe mapps or not) also interfere with light parameters, blending the polygons' colour (of the form) with that of the mapp, and even with that of the light in a big soup.

RQ :
Does a big set of parameters give a higher control or does it bring only more confusion in the attempts/temptation of control ? The importance of 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 the form.
All lights shut, one must still be ingenious and play with the materials to 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 grasp.
Realisation of a few sequences along which certain visual events took place.
Development of bigger and brighter textures, wireframed or not.
Use of variable types of light, colour, intensity, position, together and 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' textures according to the situation. Studying the slowness of the movement. Beginning 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 a production file in order to seek out some financial assistance.



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