The coding programme that we have learnt this week is called Quartz Composer. This programme is very different from the previous two programmes we have learnt to date. Instead of being word based in which the coder inputs lines of code and then compile to see their composition, Quartz uses a more visual flow graph approach. The coder chooses a patch and then links the output functions of it to one another patches' input to create the code. I'm not going to lie, this programme was somewhat complicated at times, however the potential of this programme over the others is far greater..
A video of my composition. Unfortunately for some reason, Quicktime did not record this video in HD and it lags a bit in the video but meh..
My design process using the programme Quartz Composer is as follows:
In this composition I have decided to use the particle system patch. This patch already has an preset action to it in which the blocks extend out of the centre of the canvas at different sizes and velocities. However, the way they look at the moment it is hard to even tell what is happening..
First thing I have done is increase the particle count so that there are 2,500 particles rather than 254 coming out of the centre of the canvas. At this stage I will keep 2,500 but I may need to decrease the count later on.
I have now added the lenticular halo generator patch in an attempt to change the blocks' geometry to something more appealing and in doing so, we will be able to see what the particle system patch is actually doing.
As you can see, once I have linked up the image output from the lenticular halo generator patch to the image input for the particle system, the geometry has changed to little rings or halos. This is much more interesting to look at and will allow me to edit the parameters a lot more effectively.
The next step that I have done is change the colour from the lenticular halos preset offset white with the RGB values of: (R: 255, G: 229, B: 204) to the preset 'Iron' colour from the crayon colour palette.
RGB values of: R: 76, G: 76, B: 76
This has begun to take the 'harshness' away of the offset white on the halos. It has made the particles begin to have a feel of mood and atmosphere which is essential in provoking an emotional reaction from my audience.
I have now changed the halo radius from 70 to 503.3. This has completely disrupted the original form of the halos and are making them begin to diffuse into the background of the canvas.
I have continued to do the above by decreasing the halo width value from 86 to 57.66 which has made the particles look as though they are green speckles on the canvas.
Changing the halo overlap from 0.77 to 1 has changed the colour again from the greenish tone above to grey like the 'Iron' preset that I chose to begin with. However it too dark at the moment. Even though the particles are still moving and the form of the particle system is forever changing, it is not clear enough. Therefore I will need to change some more parameters in order to make it more visible and easier for the viewer to see what is happening in my composition.
I'm not sure what striation strength stands for and therefore what the value changes but by increasing it from 0.5 to 1.826 has brightened up each halo and one can now make out the faint circular form that is coming out of the centre of the canvas. This creates a really interesting effect which I really like.
Again, I do not know what striation contrast really means but I have decreased its value from 1 to 0. As the value increases, the rings become to take on a specular look and thus become quite grainy. As I am not keen on that look I figured that by making it 0 would give it the most smoothed look.
In an attempt to begin to play with my composition, I have added the mouse patch in which as the mouse cursor moves along the x-axis, it is controlling both the minimum and maximum velocity of the particles. This in turn creates an interesting trail effect. The following are a few screenshots as I have moved the cursor from the centre to the right-hand side of the canvas, and then back to the left-hand side leaving a trail behind it.
I have then done the above but using the y-axis as well. Therefore when I move the mouse cursor along the y-axis the particles follow leaving behind a trail. Because the particles are coming out of the centre of the canvas and then disappearing back into the centre, the trail that is left behind begins to replicate a halo again. I am unsure whether or not I want to continue with using the mouse cursor along the y-axis also. Either way, below are a few screenshots of the movement and trail that is created when I move the mouse around the canvas.
Duplicating particle system and other patches:
So I have duplicated all of the code so far in an attempt to blend the colours to create a cool effect when the two layers of particles overlap one another.
I have changed the new particle colour to the 'Ice' preset from the crayon colour palette as it not only 'pops' against the black, it also complements the white well.
RGB values of: R: 102, G: 255, B: 255.
Next step was to change the blending more from 'over' to 'add'. This brightens the halos up a lot more when they overlap.
Cursor positioning:
I have begun to feel as though the above composition is still quite basic and boring.. Therefore I have decided to change the code up a little more by using the mouse cursor to determine the positioning for both the particle systems. The particles now follow the mouse around the canvas leaving a trail behind that after a period of time begins to disappear..
Adding audio input:
I keep thinking that my composition needs another element to it. Therefore like my last composition, I have decided to use the audio input in order to add another dimension to this one in the fact that the size is now determined by the volume peak that is picked up by the iMacs microphone. It is then multiplied by 5 and then outputted as the following:
The coding programme that we have learnt this week is called Quartz Composer. This programme is very different from the previous two programmes we have learnt to date. Instead of being word based in which the coder inputs lines of code and then compile to see their composition, Quartz uses a more visual flow graph approach. The coder chooses a patch and then links the output functions of it to one another patches' input to create the code. I'm not going to lie, this programme was somewhat complicated at times, however the potential of this programme over the others is far greater..
A video of my composition. I wanted to try and emulate a music equaliser..
My design process using the programme Quartz Composer is as follows:
In this screenshot I have experimented using the start orientation parameters within the line family patch. I have changed the values of the x-axis orientation and y-axis orientation from 0,0 to 50, 100 respectively. This in turn has turned the geometry accordingly.
In this composition I want to use more linear, straight lines rather than anything with a curve in it. Therefore I experimented with the orientation values further until I came to 5000 for both the x and y-axis rotation which gave me a really interesting shape.
Next step was changing the z-axis orientation to 5000 as an experiment and it created these horizontal lines also. Personally I feel that that this is more interesting than the above, especially once I increase the line count - it will create a really funky look.
Next parameter to be altered was changing the start stroke colour of the lines from white to purple. This in turn has created this interesting gradient as it transitions from bright purple, through lilac and into white - due to the fact that the end colour is white still.
RGB values of: R: 128, G: 0, B: 255
Changing the attraction force from 2 to 5 has meant that the lines become a lot closer to one another at the origin. As opposed to the above which is quite evenly spaced throughout, having a 'cluster' at the origin could create a really effective effect later on down the track once I start adding interaction to my composition.
Playing with parameters is pretty much a try and see experience in which I have changed the end position of one the x-axis from 1 to 0. This has created a circular cluster due to the fact that by changing this value has meant that the lines end at the centre of the canvas - i.e. the origin. I am not really keen on this look, therefore I will change this value back to 1 to go back to how it was before.
As I stated above, I have changed the a-axis end position back to 1 in order to get the aesthetic that I am looking for again. I have also changed the end colour from white to cyan. I feel that these two colours really 'pop' on the black background and complement each other quite well. I have used the 'Sky' preset colour from the crayon colour palette.
RGB values of: R: 102, G: 204, B: 255
Last step in altering the parameters of this particular line family is changing the line count from 100 to 1024 (max). This has resulted in a really interesting 'prickly' looking composition. Sort of reminds me of a hedgehog to be honest. The purple and cyan colours really work well together and blend in nicely at the origin.
I have added an audio input patch - volume peak, into my patch to the start length of my line family. The more noise that there is, the more that the lines fluctuate. This screenshot shows it when the noise is a bit quieter.
This is the same as the above screenshot however instead of linking the audio input patch - volume peak, into the start length for my lines, I have linked it to the end length.
Continuing on from the above screenshots, I have now linked the volume peak output to both the start and end length of my lines. This has created an almost look of a music equaliser in which as the acoustics get louder, the lines get longer and gets back to the earlier screenshots above. The below are a couple of screenshots of my composition in action..
The last step to my design process was to add a math index path into my code. Before this, I felt that the decibels needed to really make my music equaliser looking composition to actually work, had to be really high. Thus a lot of noise. Therefore I have decided to add a bit of math in, so that every noise that is picked up by the microphone on the iMac is then multiplied by 25 and then is linked to both the start and end length. This makes the interaction a lot more pronounced and effective than before.
