Motion Tracking Workshop

Themes and Organizational Matters

Introduction

• what is motion tracking?  what is it good for? 
• motion tracking vs. motion capture
• systems: hardware and software. comparing EyeCon, Jitter, EyesWeb, Isadora, ...
• how do we respond to motion tracked meadia and why
• movement and gesture recognition models

Practical Skills (taught through hands-on exercises)

• how to focus a motion tracking camera
• video image controls (software and hardware-based), using a graphic canvas
• create and manipulate basic EyeCon elements
• how to generate MIDI signals and control an (internal synthesizer) and map them to movement
• where to get sounds from in the world around us
• digital vs. analog audio. how to edit sound samples
• how to modify sound (not merely trigger it) using movement
• using a scene sequencer, using motion tracking to control it
• feature fields (size, shape, direction of travel, symmetry) advanced motion tracking features
• control images (bitmaps) and video (avi's)
• use electrode sensors with EyeCon
• optimize patch performance (filters, sensitivity and de-bounce controls in EyeCon)
• exporting OSC/UDP to external devices
• operate MAX/msp patches and control them with human motion (via EyeCon)
• use EyeCon to control stage lighting (via DMX protocol)
• introduction to EyesWeb.  how to do many of the same things with other software

Theory

These are _some_ of the topics we can cover, depending on your background and level of interest:

 

performance theory
  history of interactive performance
  the psychology of interaction
  mapping
  collaborative creation paradigms
  how artists collaborate with engineers
  interactive perf. scenography and dramaturgy

practical matters
  system stability, crash recovery
  special funding available in this field

digital technology
  digital audio
     what is sound
     sample rate and sample size
     Fourier analysis (FFT)
  video1 - light and cameras
     what is a camera
     what is a lens
     photo-electric effect
     focal plane and focal length
     3D into 2D -- distortion issues
  video2 - film and video
     brief history of movie technology
     progressive and interlaced video
     when and how to de-interlace

 video3 - compression
    types (lossy, lossless, mpeg standards)
    uses - for web sites, archiving, projection, dvds
    ripping, editing, youtube
  video4 - advanced themes
    CCD architecture
    interline frame transfer and other options
    CCD vs CMOS
    Bayer CFA - mosaicing and de-mosaicing
    Pixel number vs. video resolution
    video noise, color bleeding, other issues

motion tracking technology
  body-oriented
    electrodes (EMG,EKG,EEG,Touching)
    WII technology (wireless accelerometers)
  space-oriented
    video-based motion tracking systems
    sound and music control (electroacoustic music)
    stage lighting control
    controlling projections
    infrared and other filtering methods
  projections - video LCD and LED
    projection techniques
    inherent problems with video projections
  interactive music and theater lighting

Personal Requirements

If you are reading this, you are probably qualified to attend a workshop. That is, while it can get a bit complicated, its not rocket science. This is a workshop for artists, not engineers. We will go as slow or as fast as you need.

A better question might be:  Why would someone _want_ to learn motion tracking?  Here are some thoughts on the matter.

Length

This depends on you.  If you are experienced with new media, and only want to learn the eyecon software and all the hardware issues, then allow about 8 hours to cover all the basics.  If you are new to digital technology, and you want to cover _most_ of it, then you will need a number of intensive days. 

Daily Schedule

6 hours a day, if not otherwise decided.

Body work

Each day begins and ends with a short bodywork -- yoga (Ashtanga), dance training, stretching or any training form you prefer.   This is not a dance workshop, but you might be surprised to learn that the body and mind are connected.  Warming up the body's instincts changes the way we think about and use technology.

Workshop Leaders

Palindrome workshops are usually led by Robert Wechsler.  In some cases, additional artists, composers, engineers and scientists co-lead the workshop.  

Equipment

Palindrome provides all of the equipment needed for the workshop.  However, it is helpful if you bring your own laptop, video camera, or other media-related equipment.   (see technical requirements).

Our concept is that you leave the workshop able to track motion and create interactive works of your own.  This obviously means that you will need equipment.   We can help you buy with everything you need and for a reduced price.

Reading Homework

A collection of articles concerning the theoretical topics above is available.   

Contact

robert (at) palindrome.de
robert wechsler
+49 179 511 0400