Part of the work that I've been doing with John Mackey has involved programmatic music analysis, and one of the things that I started doing was experimenting with some older code to see some of the results I could get out of it.
One of the projects that I settled on first was a failed experiment to transpose my Squiddy type things into 3d. Unfortunately, at the time I wasn't as experienced as I am now at manipulating vfx and using sound to control things and so the experiment didn't leave the "basic shapes" phase.
Now however I have the resources and skills to turn it into an actual work, and I've been able to leverage shaders and physics systems to my advantage to produce a really nice work that I'm really proud of.
The flecks in the "background" that you can see in the screenshots are illuminated by a flickering light at the top right (the light flickers based on a random frequency), they all flow down and to the left, and are destroyed once offscreen. They can also occlude the main subjects.
The subjects themselves are actually a recursion tree, with each step linked to a physics object and mapped to the bins of a Fast Fourier Transform (linear not logarithmic unfortunately ). The result of that mapping is that the 2 spheres that represent each of those physics objects "pop" with the music i,e, they grow larger when their particular frequency is hit. All the subjects are allowed to go offscreen (to some degree) except for the primary subject. All the subjects have an emissive material bound to their wireframe to give them detail up close and have a bit of a glow.
Apart from that, the Depth of Field shaders focus is linked to the head of the primary subject and the aperture is set (small?large its just a number to me) so that there is only a narrow focal area.
No comments:
Post a Comment