With all the focus on mapping lately, one (namely me) can get really worn out from all the blowing up of buildings, floaty particles and so on.
Someone asked me recently ‘what exactly is going on in the U.S.?’ and, having not spent much time there in recent years, and even more so not having ventured into the midwest at all, my answer was ‘I have no clue.’ *Note that, during my recent mini-tour of the U.S. this has been alleviated somewhat and thanks to all those who hosted the workshops. But only on the coasts. Maybe next time?*
Enter Hal Lovemelt (aka Time Squid), a regular on our forums. At some point he ended up ‘friending’ me on facebook, posting some very whacked out images of himself that reminded me of… myself, on occasion, as well as some personal moments that I consider high points of my experiences at the Mapping Festival in Geneva. Hal, as you can see from the documentation of his show FREAKY DEEKY puts it all on the line.
In his own words:
Workflow is quick and easy, loosely structured to allow for as much intuitive performance… but here are some Modul8 specific details:
For every show we pick a theme the week before, ideas start brewing… I set up in Modul8, 8 compositions, 6 of them being a specific gag, one just rotating theme appropriate backgrounds, and one with different stylizations of the DFG input taking camera 1 over a solid blue BG, to Key over perhaps a hardware feedback or the Amiga Toaster feed.
So Modul8 is for specific compositions with foreground props and backgrounds, as a background generator, Video art performance, and as an effect unit for the camera feed (over solid blue).
We try and choreograph different gags 10 minutes before we go on and then when we go for the bit, or the video trick, or whatever, we just yell out things to the performers, musicians and camera people. Its no pressure stress free so its rarely perfect but its always fun and there is a certain comedy to its cheesy awesomocity.
The only reason we sometimes get pure gold in terms of content/comedy/style is when we find ourselves in the zone without over thinking it, keeping it intuitive.
Another interesting thing to note is that I use Ableton Live to control Modul8 as a sort of automation trick and locked in BPM helper, as well as TouchOSC for positioning props on peoples heads and painting.
We are moving towards a fully automated system and are going to be giving the caller more power by integrating a little phone electronics unit to decode phone tone to midi data, that in turn, can control camera angles, effects in Modul8, and sound effects.
Its free play fun. The best way to learn the art form, and really learn the software and gear.
The details on where it is broadcast and all the credits is all in the Vimeo description
I don’t want to give readers the impression that this is the only thing going on the U.S. Most certainly not.
The Public Access channel in New York City was one of those strange places that, while you were channel surfing late at night to find something worthy of your eyeballs, on occasion you accidentally landed on something completely unexpected. FREEKY DEEKY definitely has that same feel. And while I myself am not a big fan of filters, Hals use of this technology enhances intensity of the characters within the frames rather then hindering it. The key hethere is that it is live with real people doing crazy off beat things. I like.
We have already seen Modul8 integrated into live broadcast work flows. However the use of it in these contexts is usually very conservative, setup “multiple outputs and trigger pre-rendered clips. Time Squids “Playatta” setup is very unique because it is utilizing Modul8 in a live context in a way that it is clear that something is being manipulated on the spot without trying to elude its audience, in fact, the reverse is true.
For those curious about the modules used in this project:
- (gN) – gNoma mixer control V1
- (vs) recall LayerSetGroupAB
- (s6) precisePosition
- 120 spir0 v1
Freaky Deeky is produced by Hamil Griffin Cassidy and Hal Ibaba Lovemelt
And is made possible by the service and facilities at MTN
(minneapolis television network)