[tig] techniques uncommon

Martin Euredjian ecinema
Wed Aug 13 20:10:07 BST 2003

Rob Lingelbach wrote:

>> My first reaction to this was to think that, for anything other than
>> duration effects, you'd be fighting the eye-brain adaptive behaviour.

>right, i wasn't suggesting prolonged periods, more like the
>duration of a typical crescendo in music, over the course of
>maybe two measures, perhaps translating to 7 seconds,

It could be very interesting.  I'm a classical guitar guy myself, one of the
pieces that comes to mind (only because I've been working on it for years!)
is "Asturias" by Isaac Albeniz.  There's a wonderful buildup of tension on
that piece that I really like (and is challenging to ger right).

I'm not sure how you'd achieve this with color.  I would think that you'd
have to sort of step the viewer from state to state as opposed to a
prolonged gradual transition.  Maybe take advantage of cuts or music to
support the experience.  It could be neat if done right.  The other question
is how to manage a list for such a project so that a degree of
experimentation could be retained.

In conversations with such luminaries as Scott Klein (standing up while I
say his name, of course) I've often said that, to me, "coloring is a
performing art"(tm)(R)(etc) rather than a technical pursuit.  As such, the
tools and the workflow must allow for that performance to be delivered and
explored as widely and freely as possible.  Anyone who plays a musical
instrument would probably understand what I mean better than those who've
never experienced that level of blending between man and machine.

Martin Euredjian
eCinema Systems, Inc.
voice: 661-305-9320
fax: 661-775-4876
martin at ecinemasys.com
ecinema at ieee.org

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