s
Projects
Dither for After Effects

Intended for the fine connoisseurs of 1-bit dithering, this new stylize plugin for Adobe After Effects adds that classic grit to your mograph masterpiece in more ways than a Photoshop action could ever do for that image sequence you just exported. This plugin was designed with Jake Sargeant for his adventures in lo-fi. In addition to an overwhelming number of error-diffusion and pattern dither algorithms, the plugin also features an interactive pattern designer box that allows you to load and save an 8x8 pixel threshold mask. Help us test the beta. More features to come in future versions.

Teaching Openframeworks

Video guiding the Processing coder through the mental transformation needed to start using OpenFrameworks to create equivalent work. This class was taught with Syed Reza Ali. We will post more episodes every time we teach this GAFFTA class. So far, I have shaved my face with a straight razor, did a claymation about pointers, and took apart a McDonalds cheeseburger. I hope it makes learning programming and its dry concepts a bit wetter. Special thanks to oooShiny for advising on the materials and teaching approach.

Bandwidth

Watch on Vimeo.

This synaesthetic, interactive musical experience provides six original modes in which the player may produce music. Kick off your shoes and get lost in a world of delicious sounding abstract geometry.

INSTRUCTIONS
Turn up your sound volume.
Click and drag to explore.
Press bubbles to change scenes.
Press Escape to quit.

Android and iOS versions coming soon.

Advanced configuration is possible by editing the contents of the bundled settings.yml. By changing the values of that file, you can control the window properties, startup behavior, user interface detail, and OSC network parameters. When set up on multiple machines, Bandwidth's 'grid' mode will broadcast OSC messages and most other modes will recieve.

Made possible by The Public. UK

Special Thanks:

The OpenFrameworks project,
Graham Peet
Joss Widdowson
Rebecca Shostak
the oooShiny group
Sandwell Arts Trust
Fran McHugh


Creative Commons License
Bandwidth by Josh Nimoy is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.

Imagined Overtures Album Cover

The album art for the Los Angeles Electric 8's new release took a lot of love from the community. The circular element is a visualization of the entire album's contents. Treated as one track, the sound data was analyzed using a fast fourier transform in OpenFrameworks and stored as white space separated ASCII floats. This spectrum data was then plotted along a spiral, with color changes indicating the different pieces. The spiral was then repeated as part of the collaborative silk screening process. The typographic layouts were designed by Rebecca Shostak, using the typeface "Arual" by Curtis Mack. We used 5 Print Gocco screens in 2 days. The printing was done at Wild Magnolia Design in Culver City, then assembled at Pony House in San Pedro. I love the convenience of the gocco, but I'm interested in somehow replacing those yellow bulbs with something less wasteful, like possibly augmenting a camera's flash component to produce the same UV wavelength. If anyone out there knows more of the scientific details of the Gocco bulb, I'd be happy to do the circuit bending. It's beautiful to see a generated visualization printed in metallic gold and white ink. I hope more of my art projects in the future can be this collaborative.

OpenFrameworks screenshot

OpenFrameworks screenshot

metallic gold, brick, and a bit of mossy green

metallic gold, brick, and a bit of mossy green

albums signed and numbered by artist

albums signed and numbered by artist

re-inking allowed much chromatic variation

re-inking allowed much chromatic variation

Becca, Josh, and Phillip

Becca, Josh, and Phillip

Josh and Marc

Josh and Marc

Josh and Marc

Josh and Marc

Assembled by Marc and Becky Nimoy

Assembled by Marc and Becky Nimoy

Felix Salazar

Felix Salazar

AutoTrader

Another project with Gmunk, I did an AutoTrader spot at Black Swan that featured a generative neuron network. I got to write a voxel volume exporter for closed geometry (using even-odd ray casting), and more importantly, I started exporting my art to OBJ and FBX so that it could be rendered in a 3d app. It was amazing to see my work with glass refraction. I also got to implement mouse-selection for the nucleii, and discovered a novel way to generate a circle with even segments along a straight axis using no trig functions (more on that later). Black Swan was an amazing new company to work at because it was a dream-team made from all the beloved members of our previous projects. I hope they do really really well. Proper respect to Matt Winkel, Nick Losq, Jake Sargeant, Chris Clyne, and Jacob Glaser.

ShyB: The Run

This was a triple music video for hip hop artist Shy B. The videos string together to form a short film. I did more traditional CG chores than I'm used to for this project. Normally, I'm hired to take care of the generative elements that need a code artist. This time, I did the 2D/3D rotos, matched shapes in Maya, painted photoshop masks, and did final compositing with the help of Becca Shostak. Shy's handwriting was added to the space, the words moving and reacting to the performer. In one shot, we replaced a license plate. In another shot, we added graffiti to the side of a moving truck.

Verizon FiOS

CHARLEX requested different kinds of wormhole animations for a TV commercial about Verizon FiOS. Video elements would be placed inside the wormhole as it progressed towards the O in FiOS. As I worked remotely, my on-site counterpart was Fabian Tejada who learned to tweak the app and produce renders from it. Fabian was wonderful to work with.

Tron Legacy

I spent a half year writing software art to generate special effects for Tron Legacy, working at Digital Domain with Bradley "GMUNK" Munkowitz, Jake Sargeant, and David "dlew" Lewandowski. This page has taken a long time to be published because I've had to await clearance. A lot of my team's work was done using Adobe software and Cinema 4D. The rest of it got written in C++ using OpenFrameworks and wxWidgets, the way I've always done it with this team ;) Uniquely however, Digital Domain's CG artists were able to port my apps over to Houdini for further evolution and better rendering than OpenGL could ever provide. Special thanks to Andy King for showing me that what seasoned CG artists do at DD is actually not so far off from what's going on in the Processing community.

In addition to visual effects, I was asked to record myself using a unix terminal doing technologically feasible things. I took extra care in babysitting the elements through to final composite to ensure that the content would not be artistically altered beyond that feasibility. I take representing digital culture in film very seriously in lieu of having grown up in a world of very badly researched user interface greeble. I cringed during the part in Hackers (1995) when a screen saver with extruded "equations" is used to signify that the hacker has reached some sort of neural flow or ambiguous destination. I cringed for Swordfish and Jurassic Park as well. I cheered when Trinity in The Matrix used nmap and ssh (and so did you). Then I cringed again when I saw that inevitably, Hollywood had decided that nmap was the thing to use for all its hacker scenes (see Bourne Ultimatum, Die Hard 4, Girl with Dragon Tattoo, The Listening, 13: Game of Death, Battle Royale, Broken Saints, and on and on). In Tron, the hacker was not supposed to be snooping around on a network; he was supposed to kill a process. So we went with posix kill and also had him pipe ps into grep. I also ended up using emacs eshell to make the terminal more l33t. The team was delighted to see my emacs performance -- splitting the editor into nested panes and running different modes. I was tickled that I got emacs into a block buster movie. I actually do use emacs irl, and although I do not subscribe to alt.religion.emacs, I think that's all incredibly relevant to the world of Tron.

HexVirus is a spherical map of the globe that features vector outlines of the continents. These continent vectors are slowly eaten away by a more hexagonal representation. Algorithmically, this is a path stepping function which looks ahead for the closest matching 60-degree turns. The HexVirus globe was used in the executive board meeting scene, and also inside the grid as a visual aid in CLU's maniacal plan presentation. In the board room interface, the globe element is surrounded by the lovely work of my team.

The scoreboard was the first element I worked on. I created a line-generator that produced bursts of lines which turned at adjustable angles. The line generator had "radial mode" which arranged the geometry in concentric circle form. This line generator was used to generate generic elements and layers of style in different things, and is a GMUNK favorite. At this point, I found myself moving to multisampled FBOs because the non-antialiased polygons were just too ugly to work with, and we needed to make film-resolution renders. In fact, this is the highst res I've ever seen my apps render.

Fireworks, mmmm. I started with a regular physics simulation where a particle has an upward force applied at birth, sending it upward while gravity pulls it back down resulting in a parabola. I then added particle-children, followed by various artistic styles, including what our team has called "egyptian" across several jobs -- which is a side-stepping behavior. We were trying to create fireworks that looked enough like real fireworks but had interesting techno-aesthetic. As a homage to the original Tron character Bit, we used icosahedrons, dodecahedrons, and similar. I was disappointed that Bit isn't in this one. After doing this simulation, I've grown more aware of how often fireworks are used in movies.

For the portal climax, the TronLines app was used, but also apps like "Twist" from our team's previous jobs. Once the look was mocked up by gmunk, a houdini artist recreated the rig for deeper control.

I wrote a particle renderer that could make the head holograms slurp in and out of the data discs. Special thanks to Keith Pasko for CLUing me in about using exponential functions to create a sliding-gooey sort of delay.

When fixing Quorra, there was an element in the DNA interface called the Quorra Heart which looked like a lava lamp. I generated an isosurface from a perlin-noise volume, using the marching cubes function found in the Geometric Tools WildMagic API, a truly wonderful lib for coding biodigital jazz, among other jazzes. The isosurface was then drawn along different axes, including concentric spheres. The app was mesmerizing to stare at.

After this project, I was fed up enough with wxWidgets and Carbon that I was ready to author my own OpenGL based UI. The most important thing I could use is a floating-point slider. I also got irritated with the way the Carbon sliders would not slide all the way to the minimum and maximum values. It totally messed with my zen thing. Also, after a job like this, it's clear that a member of the Processing community working within a CG community is greatly restricted by the differences of realtime graphics rendering engines, and that probably messes with an art director's zen thing.

"TRON: Legacy" © Disney Enterprises, Inc. All Rights Reserved.

LG Optimus Launch Conference

I worked with yU+Co on this spot featuring a globe of dots connecting up. I was very happy to see how creatively they composited the renders - using my simulation in ways I never expected. The system was easy to write since it resembled older work. It was great to collaborate online with yU+Co for the first time. I appreciate how tech-savvy everyone was, and I think that made the pipeline pleasant. I'm also grateful that everyone understood and was sympathetic to me being at Beit T'Shuvah.

IBM Data Baby

This project required a lot of research demo programs. The job holds the new record for most code artists (8) hired on one MTh job. Our apps began receiving animated curves from maya, we introduced a new speed-optimized OBJ sequence file format, and we continued to accumulate maya export scripts. At the request of director Kaan Atilla, I managed to write a bunch of C++ After Effects plugins with names like [FishBall, Stripes, SchizoPath, MeshSpikes, CurveConnector], but in the end I settled back into OpenFrameworks and wxWidgets because when you compete with an Adobe app for internal resources, the Adobe app wins. I'm also disappointed in Adobe's quality of documentation and examples. I was put in a 'lead code artist' position and I feel like I handled myself better this time. We learned a whole lot! Shout outs to new algo-collaborators Jeremy Rotsztain and Tim Stutts.

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