It is a collaboration between video artist Delphine Doukhan and generative artist Antoine Schmitt. The result is an infinitely variable way of looking at a given scene.įractal Film articulates the concepts of generative art with the language of cinema. At each scene occurrence, the camera chooses one rule at random and follows it. Some of these rules explicitly leave freedom of movement to the camera, within certain limits. To do so, it follows written rules of movement, defined by the authors, and drawn from cinema language, from animal behavior, from mathematics and physics. At exhibition time, a software-based camera, designed and written by Antoine Schmitt, navigates by zooming inside this source video material to explore and display of the scene in infinitely various ways. This very precisely choreographed scene was shot in very high definition (5K) at eight different angles. The scene, written and shot by Delphine Doukhan, is a short but complex drama with multiple plot levels, a wordless burlesque huis clos involving six characters during a reception. Although in a loop, it is never seen with the same angle, the same camera position, movement and behavior. Projected in large format, the short cinematographic scene plays, over and over. The generative video installation Fractal Film proceeds to an exhaustion of the view on a given scene : an autonomous programmed camera explores and shows us the same scene indefinitely and always differently. Such as the Iterated Function Systems from Chapter 2.Specific program, computer, videoprojector Many of them closely resemble geometric fractals The images below were made using a camera and two monitors, and they are some of the most fractal-like examples of video feedback. In between these simple periodic patterns, you'll find higher-order periods, much like the If you rotate the cameraġ20 degrees, you'll see a triangular tunnel, where it repeats every 3 cycles. If you rotate it 90 degrees, you'll see a square tunnel, where the image returns to the original orientation every 4 cycles. You can also play with theĪngle of the camera. Right at the edge of chaos is where the most interesting patterns emerge.
If you zoom in too close, the screen breaks up into chaos. If you'r zoomed out too far, you'll just see a tunnel of nested images.
Video feedback is very sensitive,Īnd you will get the best results by using a tripod. This image keeps looping around creating a dazzling array of shapes.
Video within a video within a video fractal tv#
then you point the camera at the monitor, so you're taking a picture of the TV screen, In the simplest form of video feedback, you take the camera and run a cable carrying the live image into the TV.
This is easy to do with only a video camera and a TV. Finally, we will examine a fun, easy way to use feedback to make fractal patterns without a computer.
0 kommentar(er)
