Motion Tracking Robert Wechsler Palindrome I nter .media Performance Group Stuttgart, Germany Lausanne, June 2009 www.palindrome.de
workshop concept "dance first, think afterwards." - Estragon (S.B.) "to work with motion tracking as an artist, start and finish with the body, not with the technology." - Robert (Palindrome)
workshop plan 1 Training. non-dancers: 11:30-11:55 ok? 2 Talk / Discussion / video clips 40 min 3 Improv. Chor. programming (patch-writing). 4 Tech. Sessions 5 Project work 6 Stretching, etc.
Talks from me (12-12:40) Talk 1: "What is Palindrome? A very brief history of interactive art. Motion tracking and motion capture." Talk 2: "Sensors: body (physiological) vs. environment-based systems. mapping." Talk 3: "Practical issues: how to get the equipment, etc. A critical discussion of video projections."
performances of interactive animated characters: " No DNA " ( http://www. nodna .com )
experiments with dance performances
Motione (2003-5) Arizona State U. ( http:// ame . asu . edu / motione )
"how long does an object linger on the end of the volume..." (Trisha Brown, Kaiser, et.al.)
"22" (Bill T. Jones, Kaiser , et.al.)
Luc Vanier et al. at the interactive performance facility U of Wisconsin at Milwaukee ( http://www. isl . uiuc . edu /Publications/final%20dance1. pdf )
input physical human action motion tracking and interactivity media output sounds, music, text, projections, lighting
input physical human action motion tracking computer sensor (e.g. video camera) output device (e.g. loud speakers) media output sounds, music, text, projections, lighting
input physical human action motion tracking computer sensor (e.g. video camera) output device (e.g. loud speakers) media output sounds, music, text, projections, lighting analogue to digital conversion digital to analogue conversion
processing action re-action human action human re-action
a very brief history of technology -supported interaction in performance Dionysis Thr. Athens - 3c BC
Ancient greek theater employed a number of mechanical devices to extend the power of the actor to allow them to play gods and goddesses.
Louis XIV, the Sun King, was fascinated by remote-acting mechanical devices
on the battle field. Cannons allowed you to take deadly action from a distance (500 meters). "gesture amplification". (not an interactive device...)
Electronics, interactive sound and lighting devices were used by New York performance artists in the 60's and 70's Robert Rauschenberg - "Pelican" 1963 Laurie Anderson - "Walking Solo for Tape Bow Violin" 1979
Motion Tracking - part 2 Talk 2: sensors mapping eyecon instruction Talk 3: what you need to track motion different software and hardware available where to buy it cheaply video projection techniques artistic issues robert wechsler www.palindrome.de
m apping mapping choices multiply: input parameters x output parameters x logical relationships = number of mappings there are important human perception issues in these choices! some can be perceived, many can not!
* objects that interact with cycling74‘s „Jitter“, the graphics processing environment for MAX/msp.
mapping "useful" relationships Boolean (logic in on/off relationships) • positive: movt.=media, no movt.=no media • negative: movt.=no media, no movt.=media • toggle: movt.=media, 2nd. movt.=no media • iteration: movt.=media, 2nd movt.=2nd media, etc. • random, sequential or simultaneous effects continuous controllers • higher/lower – as in a slider (loudness, pitch, filters, etc.) • thresholds – beyond which a certain change occurs •
* - programmed in Jitter the graphics processing environment for MAX/msp.
end of part 2 . robert wechsler www.palindrome.de
Motion Tracking - part 3 Talk 3: what you need to track motion different software and hardware available where to buy it cheaply video projection techniques artistic issues next steps... Eyecon Training how to control images and video how to connection eyecon to MAX/mp Project Work robert wechsler www.palindrome.de
what you need to track motion Of course there are different ways to do it. Different artists have different styles of working, different needs... Advantages of EyeCon flexibility, sensitivity -- you can use it in many different ways ease of use, quick start-up time, DIY (do it yourself) relatively low cost To use EyeCon in the "best way", requires 4 things: computer running windows software camera industrial framegrabber*
- cost more (although many older cameras work quite well)
- works less well with laptops... (?) i.e. need an external or internal framegrabber
what you need to track motion Framegrabber captures, or digitizes video (turns analog video into digital video) desktop allows for industrial framegrabber: must be: Falcon (LeoLite, et al.) www.ids-imaging.com
what you need to track motion Camera almost any camera will work, but... chip size 1/2" allows WIDE angles and high resolution does not need to be color
what you need to track motion Lowest Costs desktop computer get a used one? min. 1 GHz 300 e new, shuttle, barebones, 4 GHz 600 e framegrabber 250 e camera 1/2" chip 350 e zoom lens (4-12 mm) 75 e software licenses 100 – 500 e Total Equipment Cost: 1000 – 2000 e Training (w/ me :) ) includes building equipment 1 week 1000, 3 day intensive 600
Artists use technology differently than scientists and engineers! They have different needs, different criteria.
1 working with engineers
- higher tech, flashier effects
- better control, more reliable
- less problems? probably not. different problems...
- you will find yourself making work _about_ technology – whether you intended to or not!
2 working alone
- easier to focus on artistic issues
- simpler systems
- less flashy (= less attention, less money)
- requires tons of patience
movies, sounds and lights Media can compliment and support the live performer or it can distract from her-him. This means it depends on how you do it. And there is a fundamental issue to think about...
1. make the image smaller 2. make the image less bright, or black & white 3. lower the resolution of the film, "pixilate" it or use various image abstraction methods 4. use non-human material -- human images and faces distract most of all 5. use semi-transparent screens 6. put the screen up high, down low, in the back, or use thin materials 7. project on the side walls, on the floor or ceiling 8. project on the bodies of the performers 9. have the projection incorporate the performer's live image 10. put the image under the control of the of the performer's movement (ie. make it interactive) movies (moving images) are extremely distracting to the live performer.
APPROACH 2: Use Stills. Low Motion Slow Motion.
motion tracking - review Positive amplification of gesture sense of spontaneity and engagement text and subtext (words say one thing, body says another) can make art interactive in new ways generates genuinely new ways of associating and connecting media helps to get grants and invitations Negative substitute art with special effects complex processes -- compromise quality and subtlety of expressive media. extremely time consuming, distracting life-less materials and tools de-humanize art and artists
Motion Tracking End of part 3. "dance first, think afterwards." - Estragon (S.B.) email@example.com www.palindrome.de