Posted by Synthetik on September 13, 2010 at 10:14am
Vectorizer with random palette coloring. I figured out an approach to spatially modulate an interactive noise warp so the borders get warped and the center stays in focus, based on setting the region selection to the Simple Noise ip op and then routing that through the Sphere Multiplier ip op.
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John, are you going to do a "nodal" approach to SA? Like what Apple "Shake" and NorrKross "Movie" does. Routing sounds like a Protools approach. Were as nodal is a visual approach to image / filter mods.
I don't think nodal approaches are necessarily any more visual than fixed routing modulation. There are also audio programs that use the nodal metaphor for their interface, so it's not strictly an audio vs image kind of thing.
We could certainly provide more elaborate visual editing metaphors to the underlying modulation routing in Studio Artist, perhaps we might do that in the future. We've tried to avoid that kind of 'editing eye candy' in the interface and focus more on the results of the processing in the past. Dynamic dangling patch cords could be visually fun to play with for example, but again in the past we've focused on adding new effect features that show up on the canvas rather than elaborate editing features that have nothing to do with a visual effect per say.
As far as nodal editing approaches go, one reason we've avoided it for Studio Artist is because there's a very real consequence of working with image buffers,they take up memory. Studio Artist generally assumes that the entire image is available for processing, which allows for some very interesting image processing algorithms to be used that would not be the case if only small pieces of images were accessed at any given time. It's a tradeoff, there are pros and cons to any approach.
Now nodal specification of image processing algorithms maps well to systems that don't make the kind of static image buffer assumptions Studio Artist is build on. We could of course hide the implementation details from a user, but the memory consequences could quickly get out of hand if you blindly specified arbitrary processing graphics. So it would be easy to get into trouble. So we don't do that kind of editing because of that.
There are also issues associated with what gets processed when in nodal systems. It's not necessarily obvious what the order of processing is, and since many Studio Artist processes are recursive in nature the order of processing can make a big difference on the visual result of a processing chain of events. Linear lists of processing steps make that very explicit and easy to understand. So that's why MSG is built the way it is, the editing metaphors available directly represent the underlying processing structure. SO there's a linear list of processing steps (the processor chain editor) and there's a fixes set of image buffers (streams on the bus) that are available for IO routine to and from the processors.
So yes, you can think of it as an analog to bus effects on an audio mixing board. And the modulation routing in Studio Artist is an analog to modulation routing in music synthesizers. That's one reason why people comfortable with working with music synthesizers and audio software tend to pick up the gestalt of Studio Artist fairly quickly.
I have tried several different nodal based systems. They take a lot of getting used to and you can make a tangled mess out of them fairly easily. I am thinking of some experiences with Maya as I write this. I would not like to see SA head down the nodal route. I would like to see more of the parameters be slider adjustable at a higher level, and I would like to have user programmable cmd keys. Silo which is another 3d package I use even allows the user to create an entirely custom UI (user interface), I could see using such a feature with SA were it available. Adding scripting, multiple layers/ input sources of video and an internal 3d engine would all be way higher on my list of enhancements than heading the nodal route. Though I suppose that implementing something like Massive's crowd routines-which I'd love to see used in SA to control paint instances- would best be done via a nodal interface.
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We could certainly provide more elaborate visual editing metaphors to the underlying modulation routing in Studio Artist, perhaps we might do that in the future. We've tried to avoid that kind of 'editing eye candy' in the interface and focus more on the results of the processing in the past. Dynamic dangling patch cords could be visually fun to play with for example, but again in the past we've focused on adding new effect features that show up on the canvas rather than elaborate editing features that have nothing to do with a visual effect per say.
As far as nodal editing approaches go, one reason we've avoided it for Studio Artist is because there's a very real consequence of working with image buffers,they take up memory. Studio Artist generally assumes that the entire image is available for processing, which allows for some very interesting image processing algorithms to be used that would not be the case if only small pieces of images were accessed at any given time. It's a tradeoff, there are pros and cons to any approach.
Now nodal specification of image processing algorithms maps well to systems that don't make the kind of static image buffer assumptions Studio Artist is build on. We could of course hide the implementation details from a user, but the memory consequences could quickly get out of hand if you blindly specified arbitrary processing graphics. So it would be easy to get into trouble. So we don't do that kind of editing because of that.
There are also issues associated with what gets processed when in nodal systems. It's not necessarily obvious what the order of processing is, and since many Studio Artist processes are recursive in nature the order of processing can make a big difference on the visual result of a processing chain of events. Linear lists of processing steps make that very explicit and easy to understand. So that's why MSG is built the way it is, the editing metaphors available directly represent the underlying processing structure. SO there's a linear list of processing steps (the processor chain editor) and there's a fixes set of image buffers (streams on the bus) that are available for IO routine to and from the processors.
So yes, you can think of it as an analog to bus effects on an audio mixing board. And the modulation routing in Studio Artist is an analog to modulation routing in music synthesizers. That's one reason why people comfortable with working with music synthesizers and audio software tend to pick up the gestalt of Studio Artist fairly quickly.