Semester B: Week 30
Student: Tai Ser Yeet (22064351)
Programme: BA (Hons)(SW) Digital Media Design
WEEK 30
28/4/26
Feedback from Steve
- He likes the version with the pre-recorded video, but suggested duplicating the same video twice or thrice and having it appear with a slight delay
- The start could be just the pre-recorded piece playing, then I come in and interact with it
- The shadow is not huge
Following the feedback from Steve, I’m pivoting my technical and aesthetic approach. To eliminate the playback lag experienced on the high-spec i9 hardware, I am optimising the video resolution by moving from 4K down to 1080p. This adjustment significantly lowers the bitrate and data throughput requirements, ensuring a fluid frame rate without sacrificing visual quality once the content is integrated into the software environment.
Alongside this technical shift, a full-body white outfit is used to maximise the effectiveness of the projection. By acting as a neutral, high-reflectivity surface, the white clothing will allow the visuals to pop with greater vibrancy and clarity, which effectively turns the body into a living canvas and creates a much more immersive fusion between the digital and physical elements.
Besides that, Phil hung the projector on the ceiling rail so that it would not get in the way of the audience. He also swapped the rear projection screen back to the white, opaque front projection screen, which makes my visuals appear brighter and more vibrant compared to the previous one.
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| New Setup |
I recorded a video of me trying out the visuals, and honestly, it looks great, and I am satisfied. I'd reckon that it would be better if dim lights were shining on me to create that spotlight effect.
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| Testing the Final Visuals |
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| Testing the Final Visuals |
Two projector screens were put up today to accomodate for the three-screen project, and I wondered if I could use this setup for my piece. That would mean having to connect two projectors and learning how to use Mosaic software as well.
Possible Ideas for Performance Acts
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| Two-Screen Setup |
Possible Ideas for Performance Acts
Act 1: Just the Noise Background + Fluid Simulation.
Description:
I am alone on stage. When I move, the particles repel my body, disappears and the hole appears. The fluid follows my hand and diffuses all over the screen. Start with the noise at 100% opacity. This establishes your physical presence as the "force" that moves the universe. Toward the end of this act, start a Timer CHOP. As it hits the one-minute mark, use it to slowly fade out the noise particles.
Act 2: The Ghost (The Pre-recorded Line Visual)
Description:
I am no longer alone. The line visuals dance a section of the song. To execute Steve’s "delay/duplicate" idea, use a Cache TOP followed by two Select TOPs. Set Select 1 to look at the cache 30 frames back. Set Select 2 to look at the cache 60 frames back.
Act 3: The Ensemble (The Climax)
Description:
Me + Three Duplicated Versions of Me Dancing + Particles (Low Opacity). The idea is to bring the particles back, but use my pre-recorded video as a mask. Where the duplicated versions are dancing, the noise is 0% visible.
The Technical Trigger:
Use an Analyze TOP on your Kinect velocity. When I do a sharp "hit" or "pop," the Amplitude of the noise jumps to 2.0 for 0.1 seconds.
29.4.26
Today, I dedicated the whole day to a photoshoot so I could have pictures for my individual poster. I hired my friend, who is studying film, to get a couple of shots and sent him a moodboard of my vision.
But overall, I am going for these characteristics:
- dream-like effect
- low shutter speed
- full-body and some close-up shots of my limbs
- contemporary dance so very flowy
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| Moodboard 1 |
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| Moodboard 2 |
When it was time to begin, my Dell XPS 15 kept shutting down every time I tried to run it.
When I got home, I spent some time trying to fix it by installing all the critical drivers and firmware updates suggested by Dell. I even looked into cleaning out the fans to make sure they weren't just dusty. I realised that the combination of the Kinect data and the projector was just pushing the laptop’s heat to the limit. Interestingly, the biggest fix was just putting it on a laptop stand; giving it that extra airflow kept it stable, whereas putting it flat on the desk made it overheat again. Not taking any chances, I’ve got my flatmate’s laptop as a backup for the shoot tomorrow.
Anyway, here are a few of the pictures that I liked.
30.4.26
Since I didn't have anyone to help with the shoot, it was just me, a tripod, and my Canon M50 Mark II. I tried to use 4K for the crisp detail, but the M50 has a crop in 4K mode, and it made it a total headache to fit the whole installation in the frame. I mostly stuck with Full HD at 50fps to keep the movement fluid anyway. On the other hand, the lighting was way too warm, and since I couldn’t adjust the Kelvin or temperature due to its old design, I just had to make do with what was there. Between that and the low light, there’s a bit of grain in some spots, but I managed to grab enough different angles to make the footage work for the final cut.
1.5.26
Editing Promotional Video
I brought the footage over to Adobe Premiere Pro and started rough cutting. I also exported a few videos of the visuals from Touch Designer to act as transitions by inserting the Movie File Out TOP at the end of my entire network.
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| Rough Cut Timeline |
I found a video style that could work well with my installation, which I have attached below.
I applied the Luma Key effect onto the Touch designer visuals to remove the black background. After that, I placed it on top of the footage.
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| Adding the Luma Key Effect |
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| Adding the Text |
DMD Class Poster
Two weeks ago, the class had a discussion on the creative direction of the Degree Show class poster, and together, we brainstormed some ideas and collectively agreed to create it as a collage of everyone's work. Joe, Chris, and I are responsible for the poster design.
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| Brainstorming Ideas For The Poster |
I kick-started the process by creating mock-ups, focusing on the layout rather than the aesthetics. I also produced four different versions just to see which one looks visually enticing and is able to fit everyone's work nicely.
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| Four Versions of Mock-ups |
I looked at it a couple of times, and I realised I was not satisfied with the photoshoot image, so I changed it to a different one and re-masked the subject again.
This is the final version. The hair bit is not perfect, but it does not matter because it will not be seen from far away. I like it very much because it is a representation of my live performance piece with the interactive visual.
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| My Square for the Class Poster Design |
3.5.26
User Experience During the Exhibition
I wanted something to display information explaining my project to people so they understand the core purpose behind the project and are not afraid to play around with it. I want visitors to understand that in that space, there is no correct way to dance. Whether they are swaying subtly to the background music or triggering explosive camera shifts with a stomp or a clap, the installation is tuned to their unique kinesthetic rhythm.
I turned to Google Gemini for help with the copy, and this is what it gave me.
The "Invitation to Play" and How to Move with the Piece:
If you’re visiting the studio, don’t be afraid to step into the light. This isn’t a performance for you to watch; it’s a conversation for you to join. Here is how to engage with the "Fluid Connection":
- Find the Sweet Spot: Look for the marking on the floor. This is where the sensor sees your full silhouette.
- The Power of the Pop: Try a sharp chest pop or a sudden arm extension. You’ll notice the digital fluid reacts to your speed.
- Shift the View: Want to see a different angle? Try a slow, deliberate clap, keeping your hands clamped together for a second after impact. This "intentional strike" tells the system to switch the video sequence, moving the dancer on screen from a distant long shot to a detailed close-up.
- No Wrong Moves: Whether you sway subtly or dance explosively, the system is tuned to your unique kinesthetic rhythm.
Moodboard
One of my personal values is advocating for sustainability; thus, this project should use as few printed materials as possible. I figured a digital signage would work best, but if that is not possible, I would then need to scout for a stand or an easel for a printed art board. Additionally, the display board will feature a QR code linking to a webpage with further details.
A supplementary screen will showcase a promotional reel, providing a glimpse of the show for those who missed it while illustrating the interaction process.
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| Moodboard on Pinterest |
Individual Poster
Because the images lack space around the subject, I used Photoshop's generative fill to create more space surrounding the subject, so I can put text without cluttering the poster. I wanted it black and white, so I added an adjustment layer and tweaked the CMYK values to increase the contrast.
I saved it as my master artwork and imported the file into Illustrator to add my copy. To test out different text placements, I designed 5 versions of the poster and the one on the far right is my favourite. The hex code for the yellow title is F2ECA5.
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| Adjusting Image Colours |
I saved it as my master artwork and imported the file into Illustrator to add my copy. To test out different text placements, I designed 5 versions of the poster and the one on the far right is my favourite. The hex code for the yellow title is F2ECA5.
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| Versions of Poster Design in Illustrator |
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| Poster With Printer's Mark |
A few minutes later, I recalled Dean emphasising brand consistency. I reviewed my final poster and concluded that it did not accurately reflect the visual identity of my Touch Designer background. Subsequently, I took a screengrab of the fluid simulation layer and composited it on top of the poster image using the "lighten" blending mode in Photoshop.
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| Juxtaposition Between Fluid and Poster Image |
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| Final Individual Poster |