Projection Mapping for beginners using MadMapper

1. Introduction: Welcome to this beginner's guide to projection mapping using mad mapper with me waned stables. I'm a filmmaker and digital artists and I'd been projection mapping for about seven or eight years now. I absolutely love it. It's so versatile. You can projection map buildings, you could projection map cars, you could projection map your own Bespoke artwork for galleries. If you can think about it, you can projection map it. I'm so excited to share this course with you. I think you're really going to love it. So make sure you stick around, make sure you're subscribe. Watch all the episodes. Start your own projection mapping journey. Please, please, please make sure you share it with me. I'd love to see what you've been doing and what you get OK to write. Let's crack on, let's dive in. I'll see you at the next session. 2. You will need: Hi, thank you for downloading this tutorial on projection mapping using mad mapper with me when fables, I really think you're going to love it. But before we get started, there's a couple of things we need to do. First of all, you're gonna need a little bit of equipment. So you're going to need to download mad matter. Don't worry about that. In the next tutorial, I've got a link for you. The second thing you're gonna need is a laptop or a computer so we can work off it. You're also going to need a projector. How are we going to conjecture map without a projector? The final thing you're going to need is a little bit at patients. I can't wait to get started guys. And I'm really looking forward to see what you create. See you in the next session. 3. Downloading MadMapper 4: Okay, so you want to learn projection mapping of video mapping, as it's also known, you're gonna need some software. So head over to mind-mapping dot com slash mad mapper and have a look what we've got here. So mad mapper is the industry standard software for video and projection mapping. It is phenomenal and what's great about it is they also do a free version which is watermarked and is limited. It's for PC and Mac. You can also rent it, or if you're not convinced, you can rent it for about $35 for a month, which gives you the full feature. There's a whole list of protocols on the website that you can look up. And you can also look at a couple of how to get started things, but you don't need that because you've got this tutorial. So head over to the website and we will get started. So first I'm going to click Try before are by, as I mentioned, demo version. It's absolutely brilliant. And the only thing is you can't save it anecdotes, wards market, but you know, that's not a problem. If you want to learn, you can rent it for €39 a month, which is great if you're just gonna do installations or pricing starts at €59 and they do special discounts if you work in education as well. So click, Try now. So choose your version, Mac or Windows. Now, I already have this version, so I pay for it because this is also part of my job, just below where it says try to tell you what the limitations are. So if you're using the free version for this tutorial, remember you won't be able to save it. No problem because actually there's a lot of value in read, restarting and redoing it when you open the project anyway. And that's a really great way to learn. Alright, wonderful. So you've downloaded mad mapper, or if you want to buy it like I said earlier, you can have a one month, three months, six months, or one year. If you're going to buy it for a year, you may as well by the program, right? And just if we just have a quick look at the bike program. So again, there are different options. So the cheap option is 1500 Euros plus tax and you get a license for two computers. Okay, wonderful guys get downloaded and I'll see you in the next session. 4. Computer Specs: Okay, so we're just going to look at the specs for Madhyamaka annual computer. So what hardware is required to earn madmen per so this is magma path ray, but it will be the same for four. So madman is recommending that you got at least two gig of RAM and the CPU compatible with OpenGL 3.3. Basically, if we have a new computer, is gonna run a. So I've just to create a, my computer to have 64 gig of RAM because I'm a video editor and filmmaker as well as you can see here. But my last Mac was a 2017, and that had 16 gig of RAM. So that was only a four core and it run mad Mappae. Absolutely fine. The only reason I upgraded guys, which because of my video editing 4K, not because of mad mapper. So in terms of specs, Do you know the computer is the barrier will run if you've got more than two gig of RAM, euro REI, you're gonna love this software, your confusion or cope fine. And you're gonna make some amazing stuff rather than guys. That's enough about specs. See you in the next session. 5. Menu an overview: Hello and welcome to this session of madman before so video mapping and we're going to look at the menu. So what is in the menus? If I just take my mouse to the top left corner. So if I click madman, but I can get some information about madman before and the creative, measuring the creators and so on and so forth. And then if I just get rid of that and I go back up to the menu and I click file. You'll see there's lots of things in there. So I can start a new project. I can start a project with a Wal video Walton black and open project, open recent, etc. Import media. I mean, as you can see, there are loads of things in there. I'm not gonna go through them all. But what's really interesting is you can see the shortcuts and I really recommend that you learn the shortcodes. Gazelle absolutely save you time within your workflow when you're developing neuron projection maps. And as we all know, when things are really complex, when you're mapping or your video creating stuff, show cause and speed is the key to go to the edit. Again, a lot of these are not selected because I don't have any content. We've got our usual copy and paste, which cuts across all features within Apple. So I'm using an Apple MacBook. This does work on a PC as well. If I go to Project, you know, I've got all of my croissant and create a quarter triangle alliance. If you've done my math, mapper three, cause you know all about this. If not, don't worry about it because I'm going to go through them all. Also, if we go into view, we can have different view options. And again, don't worry if these look really alien to10, don't know what they are. I'm gonna go through them all at the minute we've got a dual view selected. But again, I will talk about all of this in my output. I could do desktop mode or full-screen mode, full-screen mode, usually when your video mapping, et cetera, I can show test patents. I can have my cursor and appear when I'm makin. So if I'm a video mapping a building or a car, I can have that appear on there. I can do space scanner, which is spatial scanning, academic LED scanner, which we're going to look at later in this course. But you need some special equipment to do that with the space scanner, you will need a Canon camera. But again, I've got a course on that where we call it spatial map. Naturally, MATLAB recorder is something different. You need special hardware and then also there's a help section within that. So that's the menu structure. In a quick glance, DO play, do explore rate. Click away, see what you can come up with. Thank You guys. See you in the next session. 6. Interface an overview: In this session, we're going to look at the interface. Okay, so you've opened madman before and you've been presented with this. If this is your first time, it could be a little bit confusing. So let's have a look. So over on the left is where we create what's called our quotes. So we'll talk about the MNA. The next one is a lifeboat. That's where we create our Lai installations. Over to the right of that we have our projections so we can select our projector and we have all our functionality within ne'er. So my color LCD cuz I don't have a projected connected, but during this course we will connect projectors and decision test mapping. So you've got all of that stuff in there to play with. The, you can add background, you can change the capacity, you can add mass. Functionality really is quite limitless in panels. To have a play once you've connected projected and move it across to the right is where we import 3D objects. So we can import things here, so we can important audio player. We can import calendar, scheduled DMX due to et cetera. That's quiet complex and we're not gonna cover it too much in this session. And I will take any questions if anybody wants to start working on that over to the far right of that panel, we've got our settings, which means we can play with things that we can increase the BPM if we're, if we're working with music, we can have output cursor, which is the cursor that will appear on the map. And when you're mapping buildings or cows, et cetera. And again, don't worry, if you don't know, that means we're going to look at all of that during this course. This course is aimed at beginnings, but it's going to be quiet and in-depth course around the interface. And also give you some quick tips about when you start mapping your own things. Alright, so that's that. So let's have a quick look at the court. So I mentioned that this is where you create your content and it's what's known as quartz. So this is your input window. You can see my mouse and next to it is your output window. So what does that mean? So that basically means when you start inputting content and mapping content, it will go on the left panel. When you go on the right panel, that will be your output window. And then over on the far right, as you will just see, that is where we have our stock media or we can improve our media. Down at the bottom here is where we have our Control Panel and we can change what we are controlling with this little drop-down menu in here. So let's put it to scenes in Qj because that is a lesson we're gonna be working on where you don't need any special hardware to work out, so leave it on there and that's where you add scenes or edit scenes and so on. And I'm going to do a series on math. If you're using a matlab ricotta again, and I'm going to do a lesson on peripheral hardware you can use when you're working with mindmaps. So u less than the potential. And again, this is where you can select that. And this way you can control all of that functionality such as Matlab, it's mad ricotta, mad mini, DMX, all of us. You also have your media library which you can access on the right side as well. So if you click the plus button there, that will also give you the media libraries. If we, we can also detach that and have as a floating window as well. We can also code in madman. I'm a cola personally, but you can code your own content and you can alter the media that's there. You can also bring in your own media. So if you work in an after-effects or new co, another third party program, you can bring that content into madman data map. So that's a really quick overview of the interface. I'm gonna go into more detail specifically in the next tutorial. So hang fire, and I'll see you there. 7. Importing Media: So in this session, we're going to have a quick look at how you import media. So I have my background's in here. So imagine I'm gonna projection map these images. So I go down to the bottom here, and I'm going to import the type of media I want. I'm gonna click movie. And you're going to import a movie. So we'll put my show reel in y naught. So let's bear in my displacement or create a new quad. And because I've selected, it's there. So let's pop this in the top corner are just and then I'm gonna do a really quick job just so you can see what it looks like. It's more important that you kind of get a grasp of how you do this naturally. Me doing a fantastic job because it's about you guys really. So I'll just again move that in so we don't see too much why to a bottom there. Okay, wonderful. And it's really that simple. That's how you bring median. So this could be media that you've created in after effects or in a different program, or it could be footage that you're, you want to screen. So let's import another film so we'll impose. They go my projection mapping promo for this course. Let's have a look there. So that's there. I've created a new coordinate and bring them in. And we'll just pop out in a square and picture there. So again, just about to the edges quite roof. So you, you get the idea of what's going on. If I just zoom in to really depend on the type of media you want to bring in. It's all down there on the right-hand side. So you just click the media impo and then you decide whether you're siphoning in, whether it's alive in Pope, for example. Or you are going to bring in an image folder in. So you might want to make a selection of images in. So right now I'm going to bring in images. Let's have a look here. So I've got my tutorials folder, my exports, because that's for you guys. Let's have a look. I have some images here. And I'll bring one of these great yet that will do so. I'll just improvise and as you can see that there, so let me create a new quote and instantly it maps the image lack quotes. So I'll just manipulate the quote and we'll just pull this up over here. And I'll just resize that unlike covers saying to you guys, you can import lots of different types of meetings. You can live input, you can siphon N. And I'll do some tutorials on one of the things that I'm committed to with this tutorial C series is I'll keep updating it, so I'll keep adding things. So as I'm continue to explore and in country defining things, I'll add them in here so you can see them. Let's have a look live preview there. So again, you get a sense that you can map lots of different types of content. Guys hope that's been useful. And I'll see you in the next session. 8. Using Media: Hello everybody. In this tutorial we're going to look at media, how you import media, what is it? How do you find the etc. so the first thing I'm going to make this a little bit bigger. So we have our quad here and we know how to make quads and we know how to empower courts because we have a session on that term to eight. So what we're going to do is we're going to move over to the right panel, which is where our media is located. And you'll notice we already have some stop me do this in as soon as you open mad mapper. So that's constant in. So we just click the Play button and assigns that to that quad selected in green that you'll notice. Okay, so let's just scroll down and we'll click the plus icon. What that brings, that brings up a media window. So normally is down at the bottom of your interface. But if we click this little button, it pops out in a separate window, is really up to you. I prefer is a separate window. So if we click featured, we'll see what the guys at garish cube, who were the guys that make Madhyamaka deemed feature where they, so all you do is you select it and you just click Add to Project. And what's really, really great about dispersion of madman ego that didn't seem to want to add it there. Okay, my engineer isn't great. I bought by the server problem, but let's try that again because he has actually added that. So what the guys are garish Cuban mad mapper of Edom, is they've actually added lots and lots of new stock content. But not only that, they've also added lots of new parameters that you can work with when you import this content into your project, you can actually change a lot more than you could previously. That makes magma before much, much more adaptable than the previous version, does not say that the previous versions are amazing. I have a tutorial on projection, magnesium madman p63, eight still current annual loads of video artists, a user MAP3 and I'm not going to upgrade. And that's really down to professional choice. I've upgraded cuz I really like to see what the new features are. All I'm doing now is I'm scrolling through all the media, having a look, seen much knew, lots of familiar immediate. It's there in madman P3 as well. And I'm just clicking my life and I'm just adding that to, to my project. You can do this if you want to with all of the media that's in this file, or you can just have selected ones, Suma animated made it. So if you look over on the right panel, there's a little animated media there. This one I've just pro in twice actually, you can bring metering twice. This one which is based on the Rorschach test. That's just a still image, but I'm just going to fill my projector. So remember those white lines, that rectangle is your projector width. So that's what we'll show when you project anything outside of that won't be seen. So if I just make that the full protective width and I just play around with different media there. So you can see all I'm doing is I'm just replacing that media there. And if I just take my impulse and I change my surface area, you can see how it zooms in and we don't lose any quality. That's really important. And you don't lose quality when you zoom in. So that's a really, really exciting thing when you're working in media. So you can bring needed in alternate play with the edge blurry and so on and so forth. Play with the direction. And it looks like completely different media. That's really exciting and it's really cool and already exist. Soup quick, I just fiddled with the slide is on the bottom right corner there. And I've changed what this looks like. So on my left you can see the actual input where it looks I went, I brought in on my right, which is my output window. Remember, you can see what the project is going to say. You are, what your audience is going to say, et cetera. I'm super, super excited about this new media account weight. But before we do finish this lesson, because some of the things that I can do really quickly by changing the color and going down to the effects. And quickly changing effects have totally changed what this media looks like. I'm gonna do a series of tutorials on special effects as well. Don't worry if this is a little bit confusing at this stage. Again, we'll get into that and we'll have some experimentations. And we'll play, I then guys this and hope you have a great day. And I'll see you in the next session. 9. Creating a Quad : Ok, everybody, in this session we are going to look at quotes. What are they and how do we use them? So first of all, I click the little square crop, then that's giving me a quote and I just click some media. And the way you do that is either you click the play button in the corner or you can drag it in and you can see it's highlighted in green. If I just turn that off, you'll notice all the parameters at the bottom turn off. So I'll turn them back on. And I've just made my quad fit, my projection error. I've got some new color options here so I can go RGB, HSL color. We'll now Quick note, if I move the color wheel on the upside, nothing changes because I also need to move the inside color wheel. I can go down to the effects type, and I'm going to do a series of tutorials on effects as well. And, and I'm gonna do these really quick so you can just see them. But obviously when you do it, have a little bit more of a detailed play. And I really encourage you to experiment and play with these as well. Okay, so if I just move this slide is from left to right, I can increase the sensitivity, decrease the sensitivity. Your, I could play with the liquid phi and et cetera. And already you can see that's created an amazing effect that is completely different to my imput window, which is on my left. And remember my output window is on my right. So moving down, I can play with the perspective. I can do some mesh warping and I'm gonna do a whole tutorial on Mesh warping as well. So don't worry too much about that for now. But again, feel free to have a plate. I can do some Beziers. Hey, I can do, I can show my input, mesh, et cetera. I can divide my according to sections. I can give it a sphere, I can give it a circle there and I could reset all of that. So if I'm projecting on, I don't know, a series of plates or wherever. And I could show my input mesh, etc. I can even create masks inside of these courts. And again, don't worry about that because I am going to create a whole tutorial on mass and the different ways in tags we can use masks, but within quotes, an out-of-court. So already again, you know, just by experimented and clicking, you can see the different effects that happen there. So this is one of the new features in multimap FIFO versus mag MAP3, where I can blue edges, et cetera. And I can kind of grade all those and just create a much smoother looking quote and a much smoother looking piece of content, but I'm going to project, so that's what the soft edges selected down there. And again, I've got lots more options within that in terms of how I want to soften or how widespread i want map. So that's creating a really quick quad. So let's have a look what else we have in here. So if I just scroll there and I looked at my pasty so I can change the capacity as well. So if I want a column side of a quote, I could change the capacity of OK guys, that's a basic introduction to quote. In the next session we'll look at different types of quotes and how you create them and add content and they stack up next to each other. 10. Creating a Quad continued: Okay, so you have to make a quad. So this is called Part Two where we're gonna go into a little bit more detail around what are qualities in how you make them, for example. So the first thing I'm going to do is I'm just going to create a quad. So just a little square quad and just move that across a bear. And I'm just going to make this little bit smaller here. So we'll just bring that down there with the arrows move that's a cross. And I'll create a triangle quad. And we'll do the same. We'll take these will just scan and then I'll get them roughly the same size. So we can see yet thou do yet. And I'll create a circle quad next. Ok, brilliant. And we'll do the same thing. Just move that down and move that across. So that's how easy it is to create a quad. It's super simple. Now, this is the fun bit. So we have cold one, triangle one, and circle one. So when they're selected their active, that means that you can manipulate them. So let's just add some media to bees. Have a look at, well, there are a lot of pretty good actually, it isn't it? Okay. Let's keep looking. Just pull that down a little bit there. So I'm working in both panels, his or the input and the output. Let's just find another piece of media outlets, finds of denounced. Oh, I quite like that. Let's move this around here. Fabulous. Okay, and let's phantom devoted circle. Let's have a look. What do we have? And all I'm doing is clicking the reverse Play icon in the corner there. Is there anything else? Ok, this is quite interesting. We'll have that. I really like visual media anyway, so, okay, wonderful. So again, that's how you quickly add media to your quotes. And once your code is clicked is active and you know it's active because you get that low, a green circle around it and you get the green highlight. So let's look at layer in. So if I just move my quadratic and you'll see it's like a pancake. So wherever is on the bottom layer is the bottom layer, whereas on the top layer is the top layer, so that you're layering a pancake or cake, for example. So I can turn them on and off with a little checkbox there. I can lock them, et cetera. I can rename them by double-clicking. So I'm just moving these now just so you can see the different effects that it has when you, when you layer them. I can also do just moved them around. Again. That's fine. But you'll notice that when I bring it close, it snaps together. So it snaps across those caught, snapped together. And that's because here I have a magnet select. So if I just check that, I've got a little bit more free form as I'm moving my content around. Okay, so let's have a look. What else we have up here. So if I click the little eye, you'll notice everything disappears apart from the quote that I have selected to get rid of that. So if I just select another quote and I click that back, quad is only visible. And that's really great if I'm doing any fine tuning or I'm doing anything that requires a little bit of Detail thought, well, I can also do with the circles you just notice is I can pull the center line across and change the direction and change the focal point of that medium. Let me just don't do that, that change the focal point of that media. So you'll notice as I move it around, it gives that media slightly different direction. That's really great for creating 3D effects and so on. I use that all the time when I'm mapping objects. Because again, when you're macro on 3D objects, you also get 3D depth. And when you create 3D looking content, it just enhances all of that. All right, let's move on and let's keep working in these codes so you can see what you can do with very little knowledge and very simply, ok, so I've selected my rectangle quote there, and I've just pulled my midi in. And you'll notice that when I pour my input media down, effect directly affects my outputs. So if I'm just moving down here, I can change the code. I can sink this two a b. This is really great. Like if I'm BJ's or I've got a sound school that I want to sink my media to sync everything to a beat. And I could change the way in the speed in which that responds on the offset and the strobe, et cetera, to create some really interesting kind of pass anticipatory effects. Wonderful. So that's really interesting, that can reverse all of that. I can reset everything if I don't like it as well, which is really great. If I jump over to the left panel, I have a little bit more control over things. So if I go down to the blend mode, I can put as a multiplying a look what happens when I move my quadrant. I multiply if I put it on over and I move across, you know, it's, it's quite hot. So let's put it on the, on the circle map. Remember the call system, so the circles on top. So that needs to go on the need, but you'll notice it just puts that over there. So it just creates an overlays have multiply. All right, there we go. Now here's interesting. So nothing is happening. That's because I have my circle quad selected, not my rectangle called, which is what I need to have selected for this to take effect. Otherwise, this is affecting the court below. So let me go back to my quote there and I'll do that again so you can see, so there you go. So if I click multiply, I still get my effect boy is doing is it's overlaid that minimise zoom in. So you'll see now that my media for my rectangle quad is actually directly being affected by the column neonates or by the colors. And by the way that works. So if I take off that, it's invisible, so it needs to go back over there for that effect to work. And again, this won't work because my triangle layer needs to be on top and there you go. So you can create some really, really interesting effects just by simply changing either the capacity, all the blend mode. And I do encourage you to have a play with those and see where you can come up with. Again, like all of our media, we have our perspective. We we can mesh Wab, et cetera. We can create masks. And I'll just quickly show you how to do that. So I'll just create a circle mask over there. And I've got four controlling my PCA curves so I can manipulate that. And you'll notice now that my, my square Quad when I put a mass comm becomes a circle because it's got a mask and there's a whole session on, as you know, guys have a play, enjoy it. See you in the next session. 11. Using Lines: Okay, in this session, we're going to look at the lines feature. So if you look in the top left corner, you'll see under the first square Quad, it's aligned. So I've imported this building here, so I'm just gonna click Align, and there it is. So all I'm gonna do is click a point on my building and drag that across and click a point. There we go. Such created a land that maybe thick. So you can see, you can obviously change the thickness of these lines. So I'm just going to do a really quick simple map of this building so you can see the line feature and how it works. And then you can have a go yourself and see where you get to. Let's speed this up for now. And you know the premise of how this works. And there we go, just doing note along. And I'll show you how to get some effects in a moment. But whilst we're chatting, I'm just creating a couple of different line maps on different quad, just so you can see how you can manipulate them individually, altogether. Now remember, if I added these to a group, I could then affect all of them with a quarter over the top of that group. Um, but what we're gonna do, we're gonna do them individually. I just made this little bit here and then we'll start adding some effects to them. All right, there we go. Okay, that's done. Fabulous. So again, there are all different blind cause now second effect them individually. So we'll just go down to our effects panel and you'll see I have my media line change. So that means that all working together not independently with each click. So if I create the noise one, look what happens. There is a little bit bizarre, isn't it? Get rid of that for a minute. Great. So I'm gonna go to the animate tab. And what I can do now is I can assign a media to that. That media is now playing underneath that line tab. So I'll just go back and do it again, two different media. So just play a little bit with the interest experiment for yourself. So you can have a look at the different functions that you can do the over, you can do the add demoed supply, et cetera, play with a softness and the repeat of the, And again, you know, have a play C We're interested in effect, you can come up with. And I'm sure you do much more interesting things in this simple tutorial. And this is showing you the basics of how to use it. Okay, Gray Again, I loved the noise feature, but it's a little bit too random for me. So I'm going to get that back to the animate and I'll click different pieces of content for that. Fabulous. And we're just working through the mall and we're just making sure change the color of that. I'm going to change that to blue, I think gives a blue outline. So you can see that line of the building where we go. And we will just, yeah, just play with MATLAB. And so we can see, and again, this is an incredibly rough, you can see it's not perfectly aligned with this building really. But I wanted to show you how it worked, which I thought was more important than precise mapping, etcetera. Alright, so that looks pretty interesting. You know, very basic. We're pretty interested in. Ooh, I like that effect actually. So now imagine this on an actual real life building and look phenomena, wouldn't it? So what we can do as well is we can queue them. We can add scenes. So down here, I'm just going to get rid of that. I'm going to add a scene. And you've done the workshop on scenes. If you haven't done the workshop and scenes, there is a whole session on scenes which will really help when you're doing this workshop. So I'm just going to very, very quickly a couple of scenes here. So we'll just get rid of those and create another scene there. And I'll just give an easy in, easy out and a bit of a duration of three seconds. Fabulous. Now do the same here. I'm not going to compromise scenes again, those that know much tutorials know how much I love the column my scenes in, but this isn't the scenes tutorial is aligns tutorial. So let's just have a look at that in fullscreen. Great, there you go, guys. So thats very quickly how you use the line quote in Mathematica. See you in the next session. 12. What are cues?: In this session, we're going to look at Q. So this is a two part lesson. So the first thing we're going to do is we're going to create a quad. So I just got my quote there. Just written the word queues in texture, we know, and I'm gonna give it some media. There you go. Now, cuz even little bit federally. But I think we can do something really interesting. Let's just have a look at these colors over here. And we're gonna make tonight, I'm just gonna keep this color here. So all I do very simply is I got down to my cues here. And if I drag my mouse over it, you'll see. That gives me cuz if I want to say now click scene, but I don't want scene for these ones. Get rid of that. So all I do is I get my coat and I'll just drag it in place. So that's my cue sets. If I click the gear icon, I can change some stuff here. Ok, excellent. So all I'm gonna do now is I'm just going to drag my media across. The KSAs, keeps coming back security a little bit tricky, but grab my media across there. And Walmart times grab that across there. And I'm just going to drag this quad in to where I want it to base for. Just click play there a minute. There we go. Okay, just edit that. So password on with editing. If I click edit, anything that is in red can be re-edited so I can change the output geometry, the input geometry than masks, etcetera economics or change the speed and the cola. So all of those can be edited even once you've set your queue, right? So let's do this again. So slit my quad, put it over there, grab my quad and bring that into the fabulous does give them a color again, you guys know how crazy I am about coloring my cues. So there is an there is. Great. So I'm just going to do now is I'm just going to make that transition a little bit easier. So I'm just going to give it an easy in, out, which is smooth and a little bit, and I give that a duration of three seconds. So as you can see already in starting to smooth transition now, and I'll do the same I doing easy in that, which is smooth the transition. So as you can see that playing and they are doing exactly what I've asked them to do, moving across the screen. So that's how you cue things. You're obviously can get a lot more complex than this. So you can add cues underneath. So let's add another queue underneath, so called number two, and give that a piece of media. But let's just use this for now. Matlab is smaller, moving across. Excellent, There we go. So let me just bring that q such that q is set there. And now obviously I want it to do something. So I'll just drag that over there and I'll just bring a new Q in and set that. They're fabulous. So now we've got two queues running. Okay, so I'm just going to color this one so I can organize my Meteor a little bit better. We all know I like organizing my media is good valid duration there and I'll just give that a duration there. And we'll just change the transition type too easy in, and we'll just change that transition time there too easy out. Let's have a look and already starting to take shape. So again, very simple queuing structure here just so you can grasp the basics. So you can be more complex when you made your stuff. So let's have a look at this in full screen and you can see what it looks like. Guy. So this is Qj part one. I'm going to do another tutorial straight after this. So stay tuned and I'll see you guys in the next session. 13. Using cues: In this session, we are going to look at cuz again, so this is the second part of the workshop. Okay, so I've got my code here. I'm just gonna drop this into a queue. So as you can see, there's my Q and we're gonna give them an easy in and out and will give that 32 seconds this time. Fabulous. So all I'm gonna do is we're gonna add a new the Q in there, but I'm gonna change the media. Now as I said, QG tricky, so you don't have to be quick with this. So let's have a look over here. Let's pick some new media. Let's have a look at that. And it's just maybe a little bit. And let's get my media bag. Okay, so I'm just going to quickly check the perimeters yet that's jumped back actually to I wanted to reach us fine. Excellent. Yeah. Oh, I'll do it. I'm just going to pop up. Box is 0 for minutes or its instantaneous beryllium. Okay, so I have my new media, Veritas. Oops, today's is a super-quick drag that called in. And as you can see, that switches between them, but that's quite sharp. So again, I'm going to need to create a fade in-between those two. Anyway, let me pick some new media. Here we go, and just drag that in their brilliant. So we have three bits of media in our scene checklist. So all I'm just going to do is I'm just going to create a fade to 3 second. Nuke north thirty-seconds. Create a 3 second fading between them. Oh, there we go. It's already starting to happen. And again, super simple, super quick. Let's have a look. Here we go. And again, I can queue all of these scenes independently. Just adjust that one. I can queue all the scenes independently, should I want to. As you can see in the top left corner it says Q0. And this is where it looks like full screen. Again guy, super simple, but I just wanted to show you how you can change media enqueues. Wonderful guys. I will see you in the next session. 14. Masking: In this session, we are going to look at mask. So I brought this image, which is going to give us a surface to do a really simple mask here. So we're just going to mask around this picture. So the first thing I do is I'm going to create a quote because I need to mask something to my code. So I'm going to create a quote. I'm just gonna drop this down a little bit here. Just so I can see way is I'm going to map. Now because this is a square object. I could just do a square Quad, but the lesson is masking. So I've got my quad. I've created a mask which is the layer on top. So there's my mask one as you can see, and all I need to do is draw around my object. So I'm just going to click here, and I'm just going to draw around this. So one thing to note with mapper for your boss, your masking, you can also add Bezier curves, which is fantastic if you are Muslim around an object that has a curvature on a or a slightly trickier. And less easy than the square root. I'm, I'm masking around here. And so we created our basic mask around our picture frame. So let me just get rid of that. Okay, Excellent. So I'll just click out of there and there's our mask and instantly it creates a mask. If I invert, that must be I. You can see I can projection map behind my object. So which is what I want to do in this case. So what I want to do is I want to projection map the wall behind. But very quickly I'm just feathering just a little bit just to smooth those edges. So when you're looking at, just give you a nice feel to our renewed in. As you can see from those edges, you can see that smoothness coming in. And I'm just checking a couple different options just to see which I think works best for me actually. So we have our quad here. There we go. So what I'm gonna do now is I'm going to change what that is first of all, so let me go down here and go to my mask one more time and invert my mask. Because again, as I said earlier, we want to be outside and behind our picture. So let's just have a look here. And I just slipped my quad and pick my media. So I've selected my media and what I'm gonna do next is I have the opacity droplets. So I didn't need to increase the opacity for the effect that I want. So I'm just gonna click My Media and increase the capacity there to give it a really bold, strong look. That looks pretty good. So create a new quad. And because it's a square or rectangle, I can thus all of it, My apologies to slip the aquatic and because it's a square, a rectangle, I can do this quite simply. By doing this. I actually didn't need to do a mask book. This session is called masking, so I wanted you to see how to mask a really simple objects. All right, Fantastic. Another thing with madman before and I will do a tutorial. This is you could do multiple masks within one scene, which makes your work for much easier and much easier when you're doing complex environments as well. All right, so I'm just going to alter this a little bit. Let's have a look down here to soften the edges slightly. There we go, Just pulling it in. And again, I'm doing this by eye, so I'm just checking that that Sarai and just put some media in there. She's have a look. Yeah, that looks that looks fantastic, doesn't it? So just adjust my parameters of my quote a little bit so it's a little bit more square. Excellent, excellent. Let's play with this is reset that I'm in a, there we go. And trust and oh, this looks really good, ally, this media. So we'll keep this in here. I think it gives a really sent to that 3D depth. So you can imagine if this was in the real world and this was a real picture frame. And that's what full, full version view. So again, this technique is absolutely fantastic for creating visual effects. Even if it's just in a shop display didn't have to go and build an orca. Guys hope you enjoyed this basic session on masking. Do rewind if you need to, and please send me your projection maps and let me know how you get and I'll see you in the next session. 15. Introduction to Mesh Warping: Okay guys, in this session we're going to look at mesh warping. So I've got my scene brought in as a background and I've just blocked that layer is a quad. So I'm gonna create a new quad. So this is going to be my media. So let me give that some media there. Let's have a look what we have here. Alright, so I just have a play around with some different tabs immediately can see what we have in there. Okay, that's great. So I'm just gonna drop the opacity so I can see behind the scene because obviously I'm doing this inside of the laptop and I don't have my projector connected. So first thing I'm going to create a mask. So I am going to mask around this pillow. I'm going to speed this up right now. Could you don't need to see me must increase you know how to do this. And then we'll start the mesh warping. And I'm just gonna do this quiet roof for now. I'll refine it later and I'll just play with a J curve on a few of them just to give it some. So assembles avoiding would actually look like, okay, so I'm just going to invert my master's, give it a bit further and then invert my mass So you can see the content there. And let's just pull that back, increasing capacity. So let's just have a look. I mean, that looks fantastic, doesn't already, and that's just masking. So what we're going to do now, we're going to mesh one. And mesh work basically is mapping the projection map to the contours of our surface. So I've selected mesh warping. And I'm just gonna play with the different couple of options so you can see them. So first one, I've selected input and hearing my mesh points that I've created here. So all I'm literally gonna do is I'm going to pull those mesh points in. And you can see here. So as I pull those points in, cos, I've got the mesh from impo. You'll notice as I pull that across, it takes it away from our surface. So let's just go back down there. And there we are and will go quad. So I mentioned to the quad now, not the input surface. Now watch what happens here. So here my mapping points. So as I start pulling that across, you'll notice that my mask stays in place, which does not affect my mask, it only affects the media that I'm mapping to. And I'm doing this really quick. I'm not actually doing it specifically to the contours of the pillow. I just want you to see how this works so that when you start to know you can play with yourself. And if I change the media, those mesh points are still there. It still happens. Let's just have a look at that. There we go. So you can see there's my media. So if I play with what aspects I want to be seen, that directly correlates to my output window. Let's have a look at I am full screen and a gaur, although it's quite a rough mask, I think you'll agree mesh will pin at a really interesting 3D dynamic effects. Are then guys how to play with mesh warping. Do send me your projection maps and I'll see you in the next session. 16. How to Recode media: So the folks at madman, I've been incredibly busy creating some new content for us called recode. And I'm gonna do this tutorial looking specifically at that content. So I've got my libraries. If you go open your library, they would go and look for recode in the features list and then you'll get this list I've got here. Alright, wonderful. Okay. So firstly, I'm Urdu, obviously is I'm gonna create a quad. So I'm just going to make sure my media output is the same size as my projects. A quote, there we go, wonderful. And I'm going to import some of this content, and I'm going to show you how phenomenal and fantastic is. So let's just click this. Now as you can see, I've already imported this content, so let's get rid of that. Let's get rid of this because I've had to play with it before doing this tutorial and I don't really see too much. And we'll get rid of this one as well because we'll put this one vacuum. All right, then let's get cracking. So will slide down and let's have a look at this one here. So we'll just bring this in. There we go. And what he's doing is creating a copy ready for me to recode. Now, I don't know how to code and I'm sure most of you guys don't, but mind-map or thought about that and of course, with a really interesting solution. So in the bottom corner you can see I can play with the parameters again. And I've still got all my functionality on the left is what if I want to use that, but we're gonna stick to the right for now. So I'm just creating a nice image that I want to work with. Okay, now look at this speed. I'm just going to move that across. All of the sudden it's animated. So essentially visually by moving the sliders, I've recoded this piece of static media into an animation. How amazing is that? Okay, moving on. So what I'm gonna do now is I'm just going to delete this media. So get rid of some different media so we can have a play with something else. So let's go back to this square media here. So it's creating a copy for me. There is click the play button and is now attached to my quad. So really interesting static image. Let's have a play around with the parameters here. So just play around with the scale. We'll just move that across. So you've got a little visual editor there and that visual aid editor changes in developed depend on the media. So I'm just going to separate these apart. You did see that ri separate them. Separate them again. Wonderful. Okay. As you scroll down and we'll move that effect from the center to one of the sides is have a look. And again, I've got this visual editor here where I can move things around. And then we'll go down here and we'll just make the other bit more cartoony. So it has a bit more definition. Great change to cause a little bit Exelon and watch this just by moving the slide. Suddenly it's animated. Let's just make this full screen so you can see, there we go. How cool is that? I don't know if you could tell guys, but I am blown away by these recode media's. All right, wonderful. Let's just get rid of, let's try another one so you guys can see, I'm not gonna go through them all. Obviously, you're more capable of doing that yourself. And I'm sure once you've seen this, you'll wanna do yourself. So let's just bring this one in. An animal, have a log. This is slightly different to the rest of them. You'll notice it's much more 3D sculpture. Ask this one, but look, just by playing with the parameters in the bottom corner, it starts to become something really interesting again. So you can see this animation. And as I talked about those visual grids look, I'm just moving around with my mouse. Just get a feel and shape. And again, you guys have a play with it. See what you can come up with is quiet a few grits down there. I can soften this, I can play with the Lai Jiang. So already I've got a really complex animation that would take days to build in a program like After Effects on new car wherever and even more so, there will be lines and lines and hundreds of lines of code if we wanted to change this, and we can do this all with the visual sliders, madman, absolutely phenomenal. And during this forest, I'm so thankful and I'm already planning on how I'm going to use this in my projection maps over Christmas and beyond really. Ok, so that's great. You can see what's going on. Let's just get rid of that word is bring one more in so you can have a quick look at another piece of media. So I've just brought this in here, this, this circle dialogue. And again, very quickly, I could turn that into a 3D shape. I can move that around. I can play with the colors, I can extrude it, I can invert it. I can do all these wonderful things really, really simply. Guys, that's a really quick tutorial on the recoding media in Magna. Hope you enjoyed it. Please leave me a review. Hit me up with any questions for further tutorials. I've got quite a few more planned anyway, so keep watching the sessions and keep checking back. Alright guys, have a wonderful day and I'll speak to you very soon. 17. What is Syphon : Hi everybody. In this session we are going to look at siphoned. So what exactly is siphon? So siphon is an open source MAC OS talent that allows you to Chef frames in real-time from different programs. So obviously I'm using a Mac. If you're using a PC, there is a different one for PC. And I will investigate that because I'm not a 100 sensors. And what that is again, because I use a Mac. If you're on a Mac, then have a look at this tutorial. If you're not, then you can jump and skip the tutorial. And I'll do you a tutorial where I could find what the PC1 is. Basically we're silent. This means you can link two programs together. So it works with my paper and I have a tutorial on mind-mapping works. You touch designer. And I'm currently building tutorials on Turkey designer as well. After effects and also heavy M, which does tutorial is over n. So the way it works is you create a animation or you create some graphics and a program such as synesthesia, for example, which is a VJ software. We're going to look at synesthesia later in these workshops. And then you can siphon that directly into mad mapper or any other peripheral programs as seen in unless, alright guys, see you in the next session. 18. How to Syphon in from VDMX 5: In this session, we're going to look at how you siphon content into mad mapper. So i'm using a program called V DMX five, which is a VGA program. So I have the enabled, I've downloaded siphon simple client, which is a siphon ricotta, and the client in which you send your output from VBM X5 into siphon, and then you can bring that in to mind-map or so let me just prepare the project for you now. So what I'm going to use, I'm going down to my siphon option down here in my right hand panel. I'm going to click that. And already, because I've set VD m x five as an output to siphon that already shows up as an input, tracking literally at this input into my mask or my quotes. So I'm using the plain mass from an earlier tutorial. And you can see I've literally just click that. And it constraints if I just open VD and X5 for you, so you can have a look here. I also have these controls and medium X5. So I can say two sets of content, the icon, the map between, simply by dragging the slider to and from. Okay, so I'm just going to open my input and my output for VDI mx. And then as you can see with my slider, as I drag it across, it changes the media in madmen. That's because each change to siphon. And then Magna ph Jewish reading the siphon, I still have my full functionality in manmade BPA in terms of my blend modes, et cetera. So I can change the anchor points and so on and so forth with my siphoned a media gray. Here's a full screen preview, so you can see that, and you can see that is absolutely polynom that content from a different program, guys, that's how you siphon into madman Arduino tutorial about how you siphon in live feeds. But other than that, I'll see you in the next session. 19. What is Synesthesia: Hello everybody. In this session we're going to look at synesthesia, which is a third party Vijay API. You can siphon direct into man mapper to create some really amazing visuals. So I've already done a tutorial on siphoning. So first of all, let's go to the synesthesia websites have a quick look way does so it makes live music and visuals for DJs and VJs. And it's a really interesting program. So I've downloaded the free version. We're going to go through that process again with you guys so you can see, so first of all, click download and then you get, I'm an option as to whether it's Mac OS or Windows. So I'm working on Mac OS. So if I just click the different types of licenses, you can see what you get with the trial, which I've got. You get one license and you get to siphon or sprite output. Three can bring that into mud, mapper or any other program if you want to buy the standard license is $99. And if you want to buy a PRO license is $299. And you can see that the difference between what you get for your money, so to speak. So I think ninety-nine dollars seems really reasonable. But again, I've downloaded the trial so we can see it. If I just click the button here. Again, that takes us back to the upgrade where you see in a different visual what you're actually getting for your money. Honestly, I think I will pay $99 and upgrade to this. But like you guys and like anything that is projection mapping, you're constantly learning and you're constantly trying new things. Okay, so we're on synesthesia. I'm going to download this app and then we're going to activate it and we'll go through that process together. So why don't you download the free trial, And I'll see you in the next session. 20. How to Activate synesthesia: Okay, so you've downloaded synesthesia and you've got to open it and you've been faced with this welcome screen that asks you to login. So if you don't have an account, what you need to do is just click, I don't have an account. So I'm just gonna click that. And that's gonna take me to the website. So here we go. So it's gonna ask me to sign up. So all I'm gonna do is I'm going to put my email address in, which is there, put a password in. And we go through I'll just confirm that and sign-in. So here we go. I haven't account and it tells me my license type and I couldn't verify. Want to OK. Let's open synesthesia and process. 21. How to Syphon into MadMapper : In this session we're going to look at how you siphon in synesthesia intermodal mapper. So I've got synesthesia open here and I've got the trial version. So I'm just going to play with a couple of the scene settings up at the top left corner there. So if I just move these, you can see what it's doing in real time in the right hand top corner panel. So all I'm doing is I'm just trying out new things. See if I like the way it looks. And don't forget, we're gonna siphon this live into mad mapper. So I can change this in this program. So I can change this in synesthesia and it will actively in real-time changed that in Mathematica. So I don't even need madman open to this process across. So I could literally just work in synesthesia. And once I've got the output set and the siphoned in a magma chamber, it will map it straight across. So I'm just trying to compare different things just to get a look that I like. And down here, I've got some preloaded content already in that. So let's just go down to our settings at the bottom. And as you can see it alive siphoned. So I need to click that. And I'm gonna do ten ATP. And then all I'm gonna do here is I'm just going to click play on that. So go back to the beginning. I'm gonna go back to Mathematica and you'll see down here, I've got my siphon already enabled. So I'm just going to create a new quad and cassava enabled siphon. And we can see there is synesthesia is instantly going to play inside of mud mapper. So let me just click one that's got an active effect on. Let's have a look. Okay, that's quite interesting. So as you can see, a stay in real terms, if I fullscreen that, that's exactly what I will get as an output. And I remember because I've got the child version, I do have the synesthesia logo and if I had paid for the update would disappear. Okay guys, have a great day and I'll see you in the next session. 22. Bringing in Media from a live feed: Hi everybody. So in this session we're going to cut siphoning in a live feed. So I have my magnet per open here and I have my plane template as we'd seen. So I'm just going to go down to siphon and already because I got siphoned enabled, it'll let me input from other and programs like Vd max, but I'm going to click my life. So this is me, wave in a, in a cafe. Just check now some local beers when I was touring. And I, as you can see, I've enabled live feed and I've just siphoned off my feet straight in there. And as you can see, that is then on my surface and it's coming direct from my camera on my computer. And as you can see, I'm looking incredibly happy the OK. So that's how you put a live feed in to mind-mapping. Now what you can do if you notice, as I move my code around, I can distort the image. I still got full functionality over this. Like I have any media that I am poor. So I can play with all the settings. I can play with the perspective that Confederate, so on and so forth. So I still got all of that incredible functionality that mad mapper is given as within the software. Whether it's a live feed weather, siphoning in from another program, or whether it's creating your own media bringing median. Alright guys, have a wonderful day and I'll see you in the next session. 23. How to use Spatial scanning: Hi everyone. In this session of projection method magneto, we're going to look at spatial mapping. So we're going to connect our camera to our software. We're going to map some of this venue here, and then we're gonna projection map. Let's dive straight in. So the first thing we need to do is get a Canon camera and places where our projector lens is going to be and connect that to madmen. Fear, the standard USB cable. So the first thing I'm going to check is just make sure my project is connected. So I click the projector and yep, it's reading it down there. So that's good. So go back to my quotes and I click tools, spatial scanner, and I just click it. And here it finds a is connected to a Canon camera. And I'm just gonna check that's leading to the projector and I clip capture. And all we do is to spatially scan my environment. I'm using a low small corner of this beautiful venue just to show you this. Because it's really about showing you the spatial scanner this session. One of the things I will say is you need your camera in manual settings with the ISO open so it can see otherwise, magma will give you a warning to say please put it in manual settings and it won't spatially scanning. So that's scanning. Now I've speeded this up a little bit because it can take some time depending on how complex your scene is. So as you can see, is scanning almost like a lidar scanner scan in my environment. And it's going to create a depth map for me to work on. Now, this is really brilliant if I'm able to stand side while I'm mapping so I can go to my site were kept my distances where my project two will be spatially scan my environment. I'm going to be mapping, WA, welcome my projection map. Combat. Get all the distances correctly and plug it back in. And it should virtually be a plug and play style system. So I'm just going to quickly say this so I know exactly what the a's. And then what we're gonna do is we'll map this little space. And you'll see, there we go. There's my depth map. So again, I could go away and work on this book because I'm in the venue, I'm gonna work on this whilst I'm here. I mean, if I'm going to be in a venue and I'm going to map the space. I wouldn't need to do the spatial scanner because I can see in real time. So it's really for when you the space and come back. But again, I'm here, I'm as we're working on it. So as you can see, it's really interesting. And system and pitching because it's giving me a sense of depth and is not perfect, but it doesn't have to be perfect. I just need the general shapes in geometry or what is the I'm working on. I can always Finally, just a on psi anyway. So you know how to do all this. You now have to create calls, you know how to create mask inside of course, and you know how to impo assets. So I'll speed this up and we'll have a quick look at the final result. And they have a final projection map. Now again is a simple one, was I wanted to show you how spatial scanning can work in your workflow, guys. Thank you so much for today's session and I'll see you in the next one. 24. Calendar schedule your projection mapping: Hello and welcome to this tutorial where we're going to look at how you can shed will your projection maps for they come on at a specific time with the calendar app. So I'm in my icon here and you can see I've set up a separate counter called MAG mapper, and I've just scheduled for scenes to happen now is really important that you label your scheduler exactly the same as what the scenes call. So minor seem dash one scene dash T2 sin does x3 and x4. And that's really important that you do the same in Mad mapper. So look good, they correspond of there. So I'm going to do is gonna go through my three cube icon and I'm going to click calendar scheduler. And I'm going to import my ICS file. So in my calendar, I'm going to go to File Export. And I'm going to export my calendar ready to import it into mindmaps are just pop up on my desktop there. And they're always going to give it a tag so I know exactly what that is. And I'm just going to give that a label and a closer I know exactly what it is. So I import my file, undefined it. There is my rapid ICS. Bring that in. There is the You see, my scenes are scheduled to the time. There's my log and you'll see it as a queue bank one and it's as easy as that. So that guys is how you schedule your projection mapping using the calendar app and the scheduler in Madmen before. 25. MiniMad: Hi guys, welcome to this session of projection mapping using magma PR with me when stables. So today I'm in this fabulous old pitch house and they let me in for the day to do some projection mapping tests. I can do more sessions for you guys. One of the sessions we are going to look at is we're going to use this little device here, and this is called the minimax. And what this does is you create your projection map project in Mathematica. You export it to the minimum and you run the whole show. During this, we're going to test it out. So this is the minimal and essentially it's a soup took Raspberry Pi. So I've got madman open and I've got my minimal and it works off a USB, micro-USB calor, which goes in there once I've exploited my project. Okay, so I'm in my MFA. You've seen this one before from the spatial mapping session. So I've got my projection map and I'm just going to speed this up and I'm going to create a little output map. So I can then send to the minimum and the minimap camera on the show. Now the minimax can do much, much more than just ruin the show. It can LED lies to you can program it. So it can do lots of things that can have an Ethernet connection. So you can connect several mini-mills together. You've also got DMX and OSC functionality in there. That's a different session. But for now, let's just create this projection map unless outputted to the minimal. And let's just run this simple map on Matt. So I create my map, I've gone to my file, I'm going to Export Video mapping to minimap. So let me just find that. There we go. So all I do when I click Export, I get this little dialogue box which gives me a few warnings in areas depending on the type of MAPAI want to x-bar town. So for now I'm just going to click OK for everything because I'm not going to delve too deep. I just want to show you this pipe flow, how this works. So I've selected my video, expert video to minima and mass. Now sending it to the SD card, which I'm not going to put into my machine. And I'm just going to run this little projection map of that. Excellent, so that's doing its thing now. So we're ready to export and sending the information from projection mapper into the SD card ready for minima, let's have a look at the results. So all I'm doing is I'm putting the SD card in the minimal, I'm disconnected to its power supply with his power via USB cable. Then I select the HDMI cable in there, and that's connected to the projector. So that's already turned on, is ready to go. Let's have a look at the footage channel at on edges. And there you have it, the minimal ruling the shell. So this is perfect for Gallery installations or why you can't have your laptop present all the time. Again, guys, you don't need the minimax to be great at mind-mapping Hs and added tool to help you with your projection mapping journey. Thank you guys, have a great day. See you in the next session. 26. Using Chroma Key : Hello everybody and welcome to this session where we're going to look at chroma key and green screen. The first thing you're going to want to do is to create a quad with a background layer. So I've created a quote here, and you'll notice I've coded background. And then what I need to do is I need to create a new the quad. So this animation here, I've got from the library, the standard library. So if you just click the plus there, click that and you can create a new set of animation. So let me just change that. Okay, great. So the next thing I need to do is I need to create a new quote. So I'm just going to copy and paste this once Command-C and Command V, if you're on a Mac or Control C, Control V if you're on a PC, now that's just cooperate the background one. So I'm going to double-click and I'm going to change this to video so I know. So really good, useful habit to get into naming your quads. Then all I'm gonna do here is I click my video. Whoops, let me highlight that court first. Click my video on, my video is on top. So this is a free stock green screen video I've gotten from YouTube. And you can see I have all of my information down here. But what do we notice? The green screen is still there, it's hidden. Our background. Don't worry, super simple to fix. All we do is we go down to this panel here. And you'll notice there's one that says effects. So what we're gonna do is we're going to click this. And I've already started typing in chroma key, but let me just delete that. Let's have a look what we have here. Let me do these images for you. We have loss of animation and also special effects here. And I'll go into some of these in a different session. But for now, I'm trying to find chromic case. So if I can't see, all I do here is I click Chromecast and you'll notice it comes up there. So I just click that. And hey presto, that has got rid of the green screen. And my dance in man is dancing in the background. Now, I can play with the sensitivity of this. So as you can see, I'm just moving the slider. One way to do that, I can play with the smoothness. I can add a Spill Suppressor so it's a little bit kind of transparent. So we get that feeling. They're just pull that sensitivity down a little bit. It's as simple as that. So if you have green screen footage that you want to put into your projection mapping, you can use the chroma key inside of madman before to make that happen. Okay guys, as ever, please do send me your content. I'd love to see what you are making. See you all soon. 27. Using FX with video: In this session, we're going to look at how we can use the special effects feature with our videos. So I've created a quote here and I've just named it video. So I'm just going to find my video and just pop that in there. So this is a little dance piece that I've been working on. It's just on loop as you can see. So if I go down here to my Effects and I just enable that, you can see already. It's got blue. Dos is given my little blurb, I don't want them, so I'm just going to click here. And I get this little pop-out window. And I could scroll down. These are some I've pre Made in. So let's have a look at the ones we have here so we can have encrypt. And that gives me this really interesting effect here. And I can play with the scale and size weightless have some different ones. So this is one of my personal favorites, kaleidoscope. So I can invert that, an invert that play with the hue, play with the saturation. And again, as you can see, I'm creating some really interesting visual effects that you could put into your projection mapping or from a video. Let's have a look at a few more and then I'll leave you to look at this yourself just to remind you that in b fx in the left panel, if I click again, let's just go down here. So let's have a look at tunnels. So this is a great one. So tunneling creates really interesting effects when you're working with your footage. And again, I've got all of these parameters, the icon. So I can have it as a small, I'm going right down to this multi tunnel effect. And again, I can go down here and play with other effects within. So I'm just going to go down and click a couple more video waveforms. A great one. Boost that a little bit. She got really old vintage TV. You can incorporate into your projection mapping. And just so you can find them if you go down here into my library, you'll notice that's how I access my library. And I've got a 2D one there across the top. And I have this 3D effect on here, and I don't have anything in here as of yet. And I have a line effect and I only have an external noise. But if I go to my 2D effect, you notice all of them are in here. So all I do is I double-click on that, then brings that into my effects. So I can then play with this effect here, move the mirror and around, succeed as a tumor there. I can flip them, can play with my scales, et cetera, et cetera. So let's just bring this one out. Let's try one or two more. This is slightly weird when it comes to video, but you get the idea of what this is. And then I just move in. We can have a heatmap because of the close. This is a very strong blue. This gives me, by that almost died by infrared looking heatmap. And then finally, again, not go through all of these, I'll let you Do this video footage. I can create this here. And I can play with, and I could play with scale. And again, create some really interesting effects. So that's been an introduction to using special effects built-in side of mud mapper, ready for when you start putting footage and building your own projection maps. Have fun guys, and I look forward to seeing you and teach new in the next session. 28. Projection Mapping with Olga Kit: Hi everybody. Okay, so in today's session, we're going to do some projection mapping. So the first thing you're going to need is a projector. So have a look at the projector. I've got just a very simple standard projects that we're also going to use, something called the older kids. And I'll show you that and I'll explain what that is. You don't need the old the kid to do what we're going to do today. You could do it on any surface. I have this kit and it's a geometric shape K, and I liked using it and it's really good for teaching and that's why we're using it today. Anyway. Let's get started. Let's crack on let's projection map. I've just opened my mouth and click to my project page to make sure my projector is selected and it is donated by default. So back to the grid. And I'll just make this full screen X. And that way I can say, well, I'm mapping onto, so I create a triangle. Resize up there. In a moment. I'll bring up a little screen in the bottom corner so you can say what we're mapping to. I'm gonna give this a cooler so I can see with my eyes where this triangle is b maps to. I always find using a color is much better than using the black and white grid because you can see the edges. I'll just copy that. Move it into shape there. And we'll just ten Magna off so it doesn't click into place. Again, when you're making your own projection maps, you decide whether you want to use the magno. And I personally prefer it turned off until our near the very end of a map. And I just wanted to do the final changes. As you can see, I've just made my work area a little bit bigger so I can see my handles. And I'm just going to keep repeating the copy duplicate process. So if I'm on a Mac, it's Command C, Command V. If I'm on a PC, it's control C, control V. So I'll just speed this up here. Okay. Excellent. And I just change the color of my quotes so I can see them a little bit better in the video. So you should be able to say, well IMC now. So I've used my old kit to create a couple of shapes that projectory map onto. And this is really great if you're doing an installation for museum or you're doing an installation in a shop window for something like a live Festival for example. Or you're just playing around and lead in new techniques like we're doing right now. So again, I speed this up a little bit so you can just see the process a little bit quicker. So a lot of projection mapping, especially in the early days, this is around patients. So I'm just going to save this file. And I'm going to just select all my clothes and put them into group so they're much easier to manage, sir, I have one group from my shaped one on one group for my shape to. And as you can see, if I select the asset and put it on the group, It's affects every clip individually. Equally, I can make a mask which we are going to do later. And there is a session on masks. And I'm creating scenes to save my stored at heads. Again, we've been in session on scenes as well. So you should be familiar Bovary masks. I'm scenes by this point. And I'm just trying a couple of different assets out just to see what works. Again, just to reiterate, like I said in the beginning, you don't need the older kid to do this. You can do this on any surface. For example, in one of my other videos, you'll notice that we projection mapped a desk and a unit and the TV. It really is up to you. You map. As this course progresses, how star videos in when we map on buildings or we map on cars for example. So not only do you see that, we come up on different surfaces, I'll also give you some quick tips on how you can approach mapping outside as well as inside. So that's my mapping complete. So that's my mapping complete. Why don't we have a look at the finished version? Two. 29. Creating Previews for live mapping: Okay, In this session we're going to look at how you can create previews. Why shall live mapping that don't affect what you're actually mapping. So here's a surface that I'm mapping. So this is a sculpture and I've got all of this setup as you can see. So I've already masked everything ready and I've got all of my scenes setup ready to play between them in terms of a live projection mapping scenario. Okay, so what we're going to do is we're going to look at a top. I'm going to create some preview so we can create new projection mappings whilst we're doing it live so the audience don't know what's going to happen. So I'm just going to create that into a group just so I can organize all of my material so it's a little bit cleaner and a little bit neater. When we map in that way, we can get control of all of our assets. So I'm going to create a new 3D surface. I'm going to create a new group. Let me delete that. There we go, we have a new group. There. There we go. Just organize this a little bit. And I'm just going to click the plus button up here. And that's created a new group. Then you can see it's green there and it's green here. So let me just pop some material on this quote in there. And I'm not going to mask is I'm just gonna do this so you can see. So if I click this little circle here, it will bring my preview window so I can see my projection mat surface. So whether that be a building or whether that be a surface or a sculpture, etc. So I'm just gonna do this really quick just so you can see how we can create different groups. So we can organize our projection mapping without affecting the original maps. I'm just going to put this in the middle here. So as you can see, and as you can see, I've created a new group. It's green. It's green on my Group 2 folder. That turn that off. You see, there is my asset, There's my digital but no, thanks. Backbone. Go back to my master. And my group two is hidden. Ready to trigger? When I want that to trigger, obviously, if you were doing this, you would create a much better projection map that I've done. I've just put a little square in there. So you would do this much better. So I've just created that into seen up till now on, and as you can see, it's now on my finished projection map. So I can create as many different groups as I want across the top. I can then build that into my projection mapped work. Okay, well let's a quick introduction into how you can use groups and the preview and build that into your life projection math, hope that helps. Do. Let me see what it is that you're making and add them into the group. And let's start a conversation around what we're projection mapping and any advice to anybody needs. 30. Projection Mapping a car: In this session, we are going to take our projection mapping to a whole new level. We're going to map a car. Now, what I've done is I'm going to do is a little bit differently. So I'm going to import an image of a car. So we can do this without having to have large projectors or a car at this stage. So as you can see, I have imported my image in his town S. I'm just gonna create a new quote and I'm going to map the image to lack quorum is going to zoom in a little bit here. So we've got a bigger surface area to work with. Just sent to that a little bit. Excellent. Yet that looked pretty good there. So there's my quotes are just check that and it's going to just check the parameters down here, first of all. Ok, so let's create a new group and we'll call it Cal mapping. That way we can keep everything in line and we know where everything is because as you guys know, the more services you create, the busy this can be. So that's our quote. There is going to have a look down and see what effects have we want to use. Actually, let's just leave that and let's lock that layer. So we'll create a new code and we're going to put it in our pin. Let's just rename the cow so we know where it's us, our callback round. Excellent. And we can see that that's mapped across Bloom. Okay, so ways, so that new quad as incidently mapped to that cost, let's just change that, that excellent and as you can see, is filled the whole laughs, I'm just going to drop the capacity so we can see what we're doing here in this lower panel, as you can see with me moving my mouse around. Okay, so let's just scroll down. And what we're going to do, we're just going to click software just because we're going to need that in a little bit. So I'm going to create a mask. So I'm gonna do a free form must. So here we go. And all I need to do is I need to trace round the cap. This can speed this up here because you already know how to mask, because you've done the previous session. So I'm going to turn this actress, I camber, as you can see, I'm doing this quiet roof. Because what we have a madman is BCA curves where we can adjust and we can play with that so we can slap, refine all of these anyway. So I'm realigning everything searches to gay as quick and as accurate as I can at this stage. Oops, I seem to have created an additional mass there. Let me just get rid of that. Okay. So I'm just looking for the points where the mask spills over switching cosine spills over here. So I need to do now is I need to then connect back to those points. And then I can just adjust my Beziers curve, which again, as I mentioned early, is a new thing to map, map before. And it's absolutely phenomenal. So I'm just going to drag this up there just to and pull across a little bit because we don't want. A mask not to fill all of our cow or was it locally obey God? We can't get around this. We don't have a perfect mask anyway, because what we can do is we can federate, but I'm just gonna use my busy curve there just to fine adjust this. And there we go. Just map the bony. And again, I'm doing this quiet rough when you do your masks to, you know, make sure you spend a little bit more time masking takes a lot of time to get a wry. And I don't want to do is I don't want to spend two hours just masking out this calculus tutorial because who's got the time, what you guys want to learn is the fundamentals, right? So I'm gonna go around this and I'm just going to adjust everything. And I'll speed this clip book again. Because you now have to do this and you don't need to watch me do the minutia of a great logs. Pretty good. Again, it's quite rough, but it highlights the point. So let's just pull back backup again. I mean, if you look closely, you can see on the front where large, but we are not bothered about that for the purposes of this tutorial. Okay. We're just going to send to that. So there is my first, there's my layer and here's my quad. And it's all within this group here. Okay? So if I turn the group of iten everything up so I can affects all of that with the group. So I'm just gonna change my midi here. And this is quite nice. I quite like that, but okay, well let's start with this and we're gonna create a new scene. So as you know, to create a new scene, all I do is I just click down there. I'm just going to rename that. Excellent. Okay, so that's there. And then I'm just gonna give it some media. So I'm gonna give you this media. But I'm just gonna play with this a little bit because I'm quite happy with the way that's looking. So I'm just going to drag this in because this is the I really like here. And we know that I can just move my input window over the air. M is going to rotate that round. Okay, that's looking pretty good. I might pull back down and I might change the color of actually just so you can see. Whereas let's have a look down here that she's play with some of these settings. No, I'm not going to change the cause they're actually, but I can do this through RGB or through a color wheel is you can say sorry to slide back across there. And I can affect it by doing that, by actually I'm gonna do over on the left panel. So I'm just gonna change the effects tied to the color palette. And then I'm just going to have a look and see which ones I like. So all I'm doing is I'm just going through them to see which ones I like the base layer of M, then I can alter them and, and fine tune them a little bit. So these are really interests or just going down to multiply because again, this is an image. Do I want it to look realistically if I go to multiply that multiplies over the image, so you still get the contours of the image coming through. So create that as a sane. And I'm just going to change the cause of these those that have done my tutorials previously, No, I like to call up my scenes and to make it much easier for when I'm mapping and who doesn't love a little bit of color, I'm alright, wonderful. So that's one that set. So let's pick a different one. Let's have a look. So I'm here. So this media is already now conformed to the previous media. So he's still in multiply mode, which is great, but we're going to have a look and play with it. So that's quite a nice one. Where else do we have? Just play with inverting? Oh, I like that. I like inverted. I'm gonna go back to I. Let's have a look. Let's leave inverted for now. I just have a play with it and see what we've got. And you can see how these different effects types really just the look. Almost like Lachish creating brand new media. It's like coding. Without coding, really change no visa, parameters, et cetera. But I'm gonna leave it here now, VHS is quite interesting. We're gonna store that value there so that store, and I'm just gonna give it a name. So I'm just going with the standard k1, k2, k3. Don't forget column my scenes. Okay, excellent, excellent. So they're all stored. Let's pick some new media, almost a new scene. What's really great about scenes guys is I don't need to have lots of media are here, so I don't need to have a million on one quarts to do all this. Whereas previously before scenes, I wouldn't need lots and lots of quotes and it would've got very complicated, very, very quickly. So over here in my premise, I'm just going to pick a new media. Okay, so again, I pick this media, but it's already defaulted to multiply and VHS because that's what was on the previous media because I'm using the same. You see, I'm not adding new quotes. So again, I'm just going to have a play and see what we've got here. That's interestingly, it's not quite what I want because it's three now over the cow, which is not giving us the impression that we want. So I'm a big fan of spill anyway. So let's just go down here and have a look that looks really good. I like that. I like that. See what else there is. I just have a play with it yet. We're just gonna stove up. Okay, let's scene in. And let's go for the next bit where we were naming. Obviously we have the name it so we can keep tab of where everything's up. Right. Let's just have a look through those That's then stood and we know that. So what I'm gonna do is I just have a look. Oh, that's really interesting actually. But if I go back to My Media, my scene, you notice it goes by. I'm going to add some text to this actually. So I'm just going to adjust the priorities about. And what I'm going to do is I'm going to add this and I'm going to update my scenes. So this then becomes part of this package. So let me just play with my parameters here. And you've seen take tutorials with many. So let's speed this up. We just placed that there and we'll just do the fine tuning will add an effects on there. Create the 3D effect. So it looks like is really placed on the cow. They're just a little bit of mesh warping so it fits right into fits to the contours of a fabulous, Excellent. So we'll just check that those things are stored. So I've updated that scene anyways that should be stored in our scene one. Brilliant. So that's all looking fabulous Asch, I'm really happy with the way this is looking. And you'll notice, I haven't created lots of quads, which is really great to know. I've created four quadrant total. Okay, let's create a nother quad here. And we are just going to use this. To create a mask. Now, I prefer mascot inside of quotes, as you guys know. But I think it's really important that you know how to do all of it. So let's just have a look elsewhere here. Okay. Yeah, I'm just checking to see what quarter is actually doing when it's overlays if it's an interesting effects. So let's choose a different piece of media that we want. And again, I need my court selected for that to take effect. Let's have a look down here. However, static there. Let's use this. Okay? So we have our quad selected, which is in this case is quote three. So I'm just going to scroll down here to the perimeters and I'm going to create a circle master. You can see that I've created a mask. And here we go. I'm just going to adjust the parameters. Then I'm gonna do this really quickly in no particular order because I just want you guys to see them have, have this mask system works anyway. So here we go. And as you know, when I pull everything in stocks which just occurred, oxidases, let me just reset and try that again. Here we go. So we're just moving this around, playing with the parameters a little bit. Inverting a mass because we want the content. Actually owned a car and not around the car. Although if I was in a real-world environment, I could create a mask around the car and then have everything in the background as you saw with my masking tutorial. So that's the wrong quarter luscious have worked as a line. I've created a line by mistake. Here we go. And if you create some DBMS, day dead easy, just click it deleted. It's not an issue happens all the time and there's all these parameters and things to click. Sometimes it's really easy to click the wrong one. I do it all the time. So we'll just move in through here and I'll just speed this up again because maybe you guys know how to mask and you don't need to say much may do the minutia of this. And there we go. So I'm just polynomial is damned is creating a shadow on x. I don't want it to fill the whole car. I just want you to have a little bit on the end. This is a really simple way to do that. So let's just attach some media to that. They're all right, well that's looking pretty good already. And again, this is incredibly rough pleasures. Save that as a scene. So we have a, we have stored, we know is they'll just look through a bit more media CY like see what works. Well, that's quite interesting. I really like this one and we'll just move the media around there. And we'll just read increased capacity again. And we'll go down to Add. So that's, that's quite harsh actually. But I quite like it. Sometimes it's good to be bold and in the face of everything. And there's my mask. Just check. I'm just double checking everything, guys. I'm just going over it. I'm a little banner y by I always, constantly double-check things. So I'm just going to stall as a quote. And again, don't forget to add the color because we live things nice and neat. So all I'm gonna do now is I'm gonna go through them and I'm just going to time them and add a fade in Brooklyn and all the time. I'm just going to a full preview just to make sure and just double check that everything's working as is, as it should be. Just playing with the parameters, making sure that everything triggers everything cuz droplet in live mode, let's have a look at that. And again, I know the mask is a little bit off in places book. And I just wanted you to see how easy is to master of India knew madmen, especially with the best ca, care. So we're in live, I just pop back there. So this is playing. There we go. I mean, it's a little bit geom pay, but you get the point of what we're trying to achieve here. So you can between things. And this is a really great technique to use, even if you're not mapping class, if you're mapping a house or you're mapping a shop is bi or anything like that. This is the software for you guys, right? I'm going to leave it there and I'll let you crack on and have apply and see what you come up with. Please do connect with me guys. Please do drop me a message. Please do share with me what you're doing and I'll see you in the next session. 31. Projection Mapping an aeroplane: In this tutorial, we're going to look at projection mapping a plane. And I don't know about you guys, but I don't have a plane handy in my back garden. So I popped over to own splash and I downloaded this royalty-free image. So you guys can do the same and we'll get mapping. So the first thing I'm going to do is I've created a quote and I've locked it with my plane image. So this is going to be the object we are going to map. So the next thing I need to do is create another quote. This quad is going to be our mapped media. So let me choose some media there. Okay? And I'm just going to drop the capacity down. And I'll just drop out to subtract so I can see the object that I want to map. And I'm just going to create a masking point here. So if I just drop down to the bottom left corner and click that and that's mask one. And I am very roughly going to map around this plane. I'll start refining and finessing it in a moment. But you guys know how you're going to objects by now. So I'll speed this up and I'll see you once we have a mask. So now I'm just going in and just pulling everything in Cray embezzle curves just to make sure we get the shape of the plane ready to bitmaps. And what I can do at the end of this is I can just soften the edges so it doesn't have to be blind perfect. It just needs to be as close as you can possibly get it. Because for soften the curves and we'll give it a nice soft ESRI bleeds and blends into our object. Now I recommend that you zoom in when you're doing tricky curves like this. Because as you can see when it zoomed down, a lot of information that looks like it's lined up, actually isn't. So if you want to do a BCI curve, click on your masking point, and then just right-click and I'll give you the option to enable busier, and then you just move it around. It's quite tricky because obviously these are really small points. But please do bear with it because it's definitely worth it in the end. So this can be quite time consuming and quiet fiddly job. But again, the more work you put in now, the better it will be once we start our mapping. So I'm still doing this quiet rule. Of course, obviously this would probably take me about 40 or 50 minutes and we don't have that long to watch tutorials. And the 40 or 50 minutes long. So I'm just adding this back when in here that I mess yet. So it looks pretty decent. So all I'm gonna do now is increase the capacity there. And I'll start mapping different media to this. And I'll start adding different textures and so on to create a really nice cool projection map. Again, just to reiterate, this is an image of own splash which anybody can get free because it's a royalty-free website and it's really good for honing your projection mapping skills before you go out and map onto real objects, just remember, in your blend mode, make sure it's set to subtract that will enable you to see the object underneath was still mapping the media. So I'm going to have to fiddle around with the different options here to create the look. But I want, I'll speed this up again because I know you guys know how to do this. So there's no point you watching me do it. So I'll just start creating scenes here and adding some duration so the play's quite smooth when we have it on our playback. So if you remember how to use scenes, if you just pop back to the scenes workshop and that gives you all the information that you require. Those do my cause and remember ME banging on about color grading your scenes. I can only apologize, I'm not calibrated my scenes. They're all black today. And that's looking pretty good. Just making sure that we've got easy in, easy out. So it's just a smooth transition. And I've set these quite quick just so you get to see the desired effect. Okay, displaying them through and just double check event. So let's have a look in full screen. Again, it's quite a roof mask and I could spend some more time finessing, especially on the backend of the plane. But I think you'll agree, this looks pretty good. If only we could projection plane in MIT fly. Hey, guys, thank you for doing this session today. Please do send me your projection maps and I'll see you in the next one. 32. Projection Mapping a building : Hi everybody and welcome to this tutorial where we're going to look at how you can map a building using very simply a couple of quotes unmasks inside of code. So the first thing I'm going to do is I've set up a new code and I've put a mask Dan in the button. I'm just going to map all of these diamonds out. So I've done a quick Diamond and I need to invert my meetings have added mediates or click invert. And for some reason that's moved my diamond, but that's not a problem because all I'm gonna do is I'm just going to move that across. Now. I'm using my trackpad. So that makes this a little bit fatally, uh, today. So obviously if you've got a mouse, do use your mouse because there's left and right keys on a, on a trackpad. So okay, I've got hold of that. So I'm just going to do is really rough and just map it into this diamond as you can see. And I've just got this image just off the documents to show you for this video. So normally, the way you would do this is you'd go with your project and you go roughly the same angles where your project is going to be. You then do a spatial scan, which we have a tutorial on spatial scanning, which I'm sure you're aware of. By the time you got to this point, you'll have done that tutorial. Or you can take an image roughly in the same spaces where you are going to project. And then you can adjust that on the fly as you get into your projection zone. But anyway, I'm going to speed this up now because you don't need me to show you how to do copy and paste lots of triangles, you know how to do that. So let's speed this video up now and we'll come back as soon as all of these diamonds are mapped. So rather than creating new mask and having to draw this diamond shape from scratch every time. All I'm doing is I'm copying and pasting, and that's just your traditional copy and paste key. So I'm on a Mac. So for me it's Command C, Command V. Obviously there is a PC equivalent of that. So depending on what machine you're on, will depend on, on how you're going to copy paste. I find copy-and-paste personally just a little bit easier and a little bit quicker. Obviously. Again, as I mentioned, I've, I've speeded this, this whole section or I don't normally map this fast. And what's really interesting, you'll notice as I start connecting these diamonds, o is my media is following on across all of the Moscow is not pinning individual media to each diamond mask, which would do if I was in the mass properties over on the top left as we've seen in a previous tutorial. Okay, so I'm almost finished now does zooming in, zooming out, just make sure all of those areas are mapped. And all I'm gonna do is I'm just going to create a scene, so I just click scene there. So what that has done as, as map those properties straight to that scene. So I'm going to select some more media, just create a scene, then I'm gonna do this really rough. Create a new one. Oh, I love that. And then I'm just going to create a scene. So already I've got three scenes. The preprogrammed in mud mapper, very simply all attaching to those masks. They're wonderful. And again, we can clean all of that and we can kind of add fades and transitions between. This the, the scenes in a moment. So what I'm going to do now is I'm going to create some lines, sort of turned off so I can see my building and I just click the line. And all I'm gonna do. And I know you guys know how to do this, but I'll just zoom in and do it again just to show you to refresh your memories are just click where I want my lines. So I'm just clicking down and just follow in. The architecture is built in. Now that line is quite thick. So to end that line, I just click Enter on my keyboard and that will close that line off. So I'm just going to bring that down a little bit. So let me just look down here. Multiply two, actually, I don't want to multiply it. So let me go back to over and we'll go down. They would go thickness. I'm just going to drop the thickness and just rearrange the gray. And I'm gonna do exactly the same system. I'm going to copy and paste this and then move across. And then I'll just map that to the next architectural line, bet. And if I want to add a another point, I just go to the point I want to double-click my mouse and that gives me a new the anchor point. So I can then be a lot more precise when I'm mapping these lines to the structure. And I'm sure you can remember that when I admit it to my lines, it responds to that media. So already you can see vaguely that my lines have gotten animation inside of them that are responding to this fractured animation over here. So that's given me back texture and why and black lines is moving up and down. And I can change the way my animation interacts with that. And I will do that in a minute. Again, there's a lot of these lines I'm gonna map, so I'm just going to speed this section up again because I know you guys know how to do lines already. And there we go. This is super speeded up just to get all of those lines in place, but I am just following the same procedure every time. I'm just making sure my anchor points follow the lines of the architecture of the building. And I'm just making sure that the thickness roughly correlates to the thickness of these gold lines on there. So I am changing as I go along. But again, you cannot get the point of how this is all working. Now I'm not gonna do all of that. I'm just gonna do these diagonal ones. I'm not gonna do the opposite ones just because of time and I know everybody is really busy, so they've got things that they need to be doing and the process is exactly the same if I map, decided to side. So you guys can do that in your, in your own time really. So we'll just map the last one in place. They're excellent. And again, I've done this quite rough genome. I could spend a lot more time and make that a little bit neater, but you get the point that what we're trying to make, so okay, so let's just go down to our properties down here, and we're just going to look and have some of the different ones. Let's have a look. So if I just import from rectangle, I could do a war machine point. I could invert mass, which I'm not going to do right now. Let's have a low query, okay, so it's slipped my lines that helps. And then I'll go down and I'll create a segment and I'll just have a look at these, this texture. And you can see it was making the lines respond differently based on the parameters that I set. So I've got match output to the geometry. There's how much lime per segment we change a different one. Again, you can see that noise is, is incredibly so, but you can see right there. So that's interesting. That's working really well alike that. Okay, yeah, let's, let's keep some other textures in here. It's just going to our media library and just see what else we've got in there. And scroll down. Here we go. Oh, that's quite interesting. I might be a little bit to spread evil as colliculus have a Luke. We go super quick. I quite like it though actually is megaquake, but you can imagine the effect of this on this building in real life. So in my impulse, I can again change the bit in which I want to respond to. You can see I've made my square tiny, so I could move that across and product in a different section. And you'll see that my output window is responding just to that section that's highlighted. There is if I make this bigger and give it different ones, this one as the input is very well. So let's pick another one. There we go. So you can see and my lines are like, you know, in correspondence, they go the 00. And so that's a really cool effect that you can use when you're mapping your own lines to surfaces. I'm gonna use this one for now because I know I use this one a lot, but I really liked the fact that it gives us. So there we go. So there's a line feature and I'll make that into C. Two, I remember a scene stores all of those parameters within that accent. So if I just click scene one, it goes back to my first scenes into to my second greenstone. Oh, I'm gonna do is I'm just going to have a look at these down here that's not at you. I want to go out to default. And I'm just going to drop the opacity a little bit just so you get a sentencing some of the building behind me just to give it a little bit more of a realistic feel. So once I've done that, they're just drop these down, they would go and I just right-click on my scene. And I can update, so I can either click all of them and update my scenes. Now that won't change the parameters of that one. So I need to do is just drop a capacity of that one. Click, right click, Update scene and so on to go through them. Oh, I really like that one actually. So to go through these update seen, There we go. Excellent. And that is how you map a building using quotes, scenes, and lines. Actually that's quite simple as in it guys. So I've done my tutorials before. You know that I like to be really organized when I do this. So I'm giving them a 3 second phage. And I should say is you can also, by right-clicking in low gear icon, you can change the parameters. You can make it respond to man mappers music, or you can make it respond to midi system, which we're going to start looking at as the course progresses and as I get time, I'll start adding those in. So I just color-coded everything, making sure everything set there, making sure everything's nice and clean, and that's it. My map is ready to go, so I just need to click play and I'll play through that one, could plan the next one, and so on and so forth. And I still got all these masters settings that I can play with, Shall I want to all right, guys, I hope you've enjoyed that tutorial. Please do leave me some feedback and do let me know if there's any more tutorials or parts of my map you want to experience and just let me know why I should say though. So you can then schedule this using the Calendar scheduler and there is a tutorial on that separately. All right, guys, have a wonderful day and hopefully I'll see you in the next session. 33. Projection Mapping for dance: Welcome to the session using projection, mapping and digital within your artistic practice. As I said earlier, I trained in Danton rigidly and was it was a performer. And then I retrained as a filmmaker and then subsequently got really interested in digital technologies and developed a practice in projection mapping. And then again, as, as with these things in digital technologies improve, start to develop in light installations. So I use mind-map or for most of my digital stuff. And madman pay is it's the end of the software really. So prior to this, I'll make my films in my film editing software, so I'll record them and edit them. I might also make some digital kinda graphics or some graphic design or I might work in, in After Effects and create some 3D designs. And the eye then import into Mathematica and then use that within the live show. Well, within my, my artwork, but I'm going to talk about that in a minute. And so what we're gonna do today is I'm going to take you through my process. When I projection mapped at Gantz and digital installation piece, I create a cold, intense attachment. Intense attachment is a nine-year piece of vaccine research around parenthood. So it coincides with when I became a father and a couple of my dancers became parents as well. And we were like lots of people were really frustrated with the sector at that time and how it didn't really cater for, for kind of working parents. So we started work in our own way to do it and that's how this project came about. So what I'm going to show you today and what we're gonna work on today is the second part of this piece. So the aim was to make three works over nine years. So this is the second part of it. And what I'll do is I'll show you a one-minute trailer in a moment. Then you get some context for where it is. And then I'll explain what the interface is from magma and we'll do a little bit of mapping. Unfortunately, I can't show you the cube or it's so intense attachment was mapped onto. Three meter cuboid, and the dance is performed inside and outside. And you'll see that in a moment in the trailer. And obviously with covaried, I can't get into the studio and I can't set that set up to show you. But normally when I'm projection mapping, I've got my projector's connected. And I'm in real time looking at what I'm projecting onto as well as working on the computer. So I've got that real time feedback when I'm watching stuff. Sorry, when I'm, when I'm mapping stuff. Just to so you understand kinda where we came from with our projection mapping. The cube is projected on to domestic projectors. So this is not 40 thousand pump rejected. This is for 500 pound projectors. And we located them just above where the structure is or just above the goals pointing down. So they will reverse projected from an audience point of view, right? Let me pop over to the trailer, Have a look at the trailer, and then I'll talk you through the process and then we're going to have a Q and a at the end so we can talk about anything that it raises or how you can apply this into your practice, et cetera. And then now senior investigator, right and left. Meaning we tend to think about in terms of Ted Turner, lunchtime dancer. Okay, so that's the piece that we created in it's a it's a 30 minute worksheets and outdoor and indoor piece. And you'll notice that big giant cube that the performance dance both inside and outside. Okay, so the first thing I just want to show you is this, this interface. So over on the right-hand side here we have a list of assets. So this is stuff that comes with Mad mapper and we can use directly. So it's royalty-free its license for its part of having the program. So you can map these objects straightaway. And I did use some of these in my piece anyway. And down here you've got a little plus button where you can import any assets. If I click that, you'll see that I get a list of all the assets that communities made. It tells me who's made those that. And again, they're free to use within your projection projects, but I'm not going to bring any of those assets in. And just going down here, I can also link other programs. So I can link Quartz Composer and I can also syphon from other programs like he found that V j, for example, I can siphon and content into it. So you can use this alongside other programs. And down here I can add movies. So for me, I work a lot with movies because all of my content is mostly premade and I export them as movies. So I'll add them here and I'll add those in a moment. That stuff. And I can also have a live impo. So what I can do here is I can either connect my actual camera on my computer. I can bring a camera in two into the program with through my computer and I can live stream or live feed as part of the show. And I did do that with intense attachment. We had a live stream. So what we had we had the installation when it happened in those we had the installation happen indoors. And then outside. We had a projection onto the building. We were projecting. And then we had a camera facing the building in the audience and then live fed back into the room. And sometimes it was on the cube at the end of the show or the beginning of the show, and then also switched to the wall and the space we were, we were playing with lots of different elements in real-time as well. And then you can also bring other elements in down here. In this bottom right corner, you have all the assets associated with either your movie fallow your image. If I just click this, I get a previous together is, and then I get some controls here so I could change the scale of it. I can change the speed of it, the shape. So I can make it go in and out and they offset and the strobe and so on and so forth. So you get some basic functionality there. And this is the canvas, this is where we're gonna do. We're gonna do our work. So over here is familiar with video editing. This is kinda like your preview window, and over here is like your output window. So this is, this will feed directly into the projector. And then over here we have something called quad. So these are where we are going to map our assets to, our images to, and I'll talk about those. So I've got some cell there already. And on the left-hand side, we've got different types of cords. And you can see I've just selected that bear the square with the person that's giving me a quad core, core two. And because I already had this selected is instantly associated that asset with that quote. So I'm just going to delete that for now because we don't need that yet. Say Now that's still playing because it still thinks is connected and it's telling me their number one, it's connected. So if I just pop up here and I just click my Tesco or give me the test card. And And because this is blue here, and it says cube surfaces, Well, I've created that group and I'll show you how to do that. And then I have my different quotes within that group and interestingly, is added that code in there. So let me just get rid of that. Okay, fabulous. I can create lines. So if I'm doing more intricate work, like I could go Map round a surface. And that's all within one line structure, then I can add assets to that, but we're not going to do that yet. I just wanted to show you what these actually do not play in. Excellent. We go for address. Similar triangle, same with a circle. This is mask so I can create mass, so I can mask around an object. And I can have either affected or not affected by a movie or an asset. So for example, if I've got a piece of set on stage and I want to project into go behind it. But I don't want the piece of furniture, for example, to be affected by the projection. And I've got a front projection. I can mascot piece of furniture out and it won't be visible. And down here is 3D objects. Well, we're not working on 3D objects yet. And then this is new folders. And over here is where I add ly. Again, we're not working with that. This is the one that you're gonna want to really work too, when you're working in MATLAB. And this is your projected tab. So this is where you connect your projectors. So again, I had two projectors but they're not showing right now because I don't have a protective connected. So as you'll see, my output destination is an LCD screen normally that would pick up your project. And because I had to, I would've had two of these two of these happening at the same time. So I would have another yellow triangle underneath same projected to. So anything that is within that frame will be on project one and anything within that frame will be on projected to. And again, I have some basic assets there which we're not going to church. That's if I'm working pretty objects. And this is a Settings tab which we don't need to work on today. Okay? So at the minute I've got my cube surface there and what I've done is I've created called one, quarter, two, quarter, three, and quarter four, which relate to the specific services. So when I click them, you'll see that they get highlighted in the quad menu there. So why doesn't this look like the cube that you've just watched? So because we were reprojecting. So we're predicting from the top, shooting in through the center of the circle. We have to create the surfaces to suit them because we were projected from corner to corner, the projector doesn't see as flat, flat, square surfaces. So what we have to do is we have to map the edge of the cube and from the projectors perspective. So if I flipped these two rounds, say so if I flip that around, oops, excuse me. Like that. I mean, this is very rough and I brought them together. What you would see is you would see the angle from the projectors as they see them. And you can set this up in different ways. I just set this up in this way with this numbering system because there's lots of assets. Very quickly, it can get really, really overwhelming. And before you even can get 10% into your show, you have lots of movies and lots of assets, and it becomes a little bit mind-boggling. And down here, we have seen the kids, this is new. This didn't exist when I first started using Mathematica. And this is an absolute lifesaver. So those of you guys create shows, orange shows, oh, about Q in. And you'll know about kind of software that way you can cue your music and so on. This is kinda a similar system to that really. So you can queue what you're doing. You can queue different scenes that you can queue different parts of your projection map to communicate certain times. And you've got certain assets down here that you can set your time in width and I'll start queuing some things in. But first thing I need to do is I need to import some media. So this is telling me it's offline and it's called old footage. This is actually these quotes. And I don't have the original harddrive connected to my laptop because it's got lots of other footage on story telling me it's offline, but actually that's footage relating to these quartz. So I'm just gonna leave it in there. And that's fine for now. And actually before I jump into that down here, you can see there's two quotes not highlighted because I've turned them off. So the first one is a feed, a live feed, and you'll see that there is a live feed. Excuse me, there's a live feed. And that actually live fed to one of the surfaces within the cube. So that feedback was the live camera that was on the building. And then these lines, which have all gone a little bit skew with these, these lines actually blind perfectly around the cube. So it looked like a line of sound was traveling around the cube, but that needs resetting. So I've just turned off Emilio had a live feed anyway. Alright, so just pop down here, just go to my movies. And I've got a couple here that I've just put together. Just for the purposes of this, I'll just import those and they're right in there. So if I wanted to as giving me a preview that if I wanted to attach this to quote one, I'd make sure Quadroon was selected. And then all I do is I just click the corresponding media or corresponding asset. So first of all, if I just click the Play button that you'll notice is it's given me this whole thing here. So let's just knit back over to our preview. There we go. So this line shows me my surface area, so that is moved across. You'll see directly. Changes my output. And I get, I can scale the soap or IQ scale is down. What's really interesting about bandgap as if I scale up even outside the asset, it multiplies it. So no matter how much I scale a gives me the exponentially. But what I want to do here is I want to actually go right in and we'll just make this a little bit bigger. And I'm just going to select just this so I can see just, I just put, just bring those edges to the n. All right? Yes. So I've just selected this Central and I go back here. What you'll see is that then has mapped it to the surface. So I'm just gonna do that with the rest. Again, you can have more than one. You can have more than one asset selected to the same clip. So I can have this selected to all my clips and I'll do it really, really rough. Financial should do the same again and again, just because I'm aware of we don't have a huge amount of time and I am the king of going over and tomorrow we'll absolutely go crazy if I do that. And so we'll just pop that on there. And then we'll go to court for and I'll just quickly do the same. And so obviously I'm movements like this one. Normally when you're mapping each quite time consuming. And it does take quite a lot of energy to figure things out. So it's really important that you keep saving like anything. Okay, so we've got all of those maps. So if you think about this cube now, as an audience member, I can walk around it. So that's going to give me a 3D effect is going to be quite trippy actually. Now, again, I can play with the colors if I don't want it to be called for, if I don't want it to be. Why I can play with the colors for example, but I'm just gonna keep out while for now. And I can also play with the type of effect, the i1 within this and recently the US default. And along with that is I'm just going to click down here. And that's just going to give me a quote. Sorry, that's going to give me a scene. So that's stored all the information there is in side of those quotes. So these hypnotic thing is stored in there. Now it's a little bit uninspiring black. So I can do is I can click that and I can just change the color of that. I can also change the name, so we'll just call that hit now. So I'm dyslexic, so I'm not gonna try and dispel hypnosis, but we'll just call it hypnosis. And what I can do as well is I can go up to here and I've got my settings that's got a duration of five, that's got a duration of five seconds. So what I'm gonna do is I'm going to leave it for five seconds for now, but normally, I'd give it a rough time within, within my piece. And what I can also do though, is if I select this, I can actually have that affected by music. So it could affect the beats of the music. Or I could even if I working on times and I've got a structure for timing, I can even have my play. Next, when movie loops finished, so the movie before it will finish, this will trigger this one to play. For now, just keep five seconds are turned off. And I'm just going to keep coming from left to right. So moving across from here, across data. So we'll just get rid of that. And why can also do is I can have the duration in seconds if I just click two seconds there, that's a 2 second fade for this scene and the next thing, and I'm just going to update that thing there, so that's updated. So now if I change this and I read effect the c, right? So what we're gonna do now is we're going to transition into some content. So obviously, I've got my code here. Now look what's happening because of the way that Cortes that's gone upside down. I actually personally don't mind that. But what I can do here is I can just flip that around. And that gives me that quote, bear. And, and I can go through this and every piece of my footage, I can just add different person again, that one's upside down, but that's not an issue because I can just flip it around and so on. But what I'll do is I'm just going to add the same content to each one for now. So we've got across the board x and, and y. I can also do as well is I can add different parts of the quote. So if I go to this one and we made small ripple over there. And you can see here if I just make this smaller again, you can see the different assets there. So we get a different look on those quotes. And again, I can just come here, store that gives me a 2 second transition. Just call this one. I don't need that extra singer. And a coercer can save fabulous scene. So now if I click hip, now, you see we go back there. And then if I click down to one, we fade into down swarm. So what I'm gonna do now is I can select now I can select to cause at once and give them the same assets. So let's give it a mess. And again, I'm just going to make this small. So we've got different parts of our scene. And let's just get rid of this for now. So this one, let's just put here and we'll just drop a capacity so we can see it. But it's not deterring our audience. Means Have a look. Yep. Alright. So again, we were starting to add effects within. So I'm just gonna say that again. And I'm super speeding through this obviously, when you're doing yours, you'll take a little bit more time. Within that. What I'm gonna do now is just because then I'm going to create a mask. So I'm just going to pop this master and Papa oxidases must go through again, puppet master. And there's the mascot terminology here, is I'm just going to go round my surface like this. And this is quite a simple mask actually because there's not that many shapes and corners. Just assuming that I don't think I've connected by OPM. It's connected. Great. So all I do is just check my mask is fine. Invert that. And once that is done, now, if that's playing, what's beneath the, but what I'm gonna do is I'm gonna create another quad or I'm just gonna put that beneath is turned off. Put up beneath. Sabbat quad is referencing this footage here, which spread down. So let's maybe say we want this footage. And let me just update that scene and we're just going to call that chord one. Sorry, masks one, mask one. And give a 2 second failed as well. Gray and give another color. Excellent, understood data Boston here. So can you see the difference now once I've created this mask, it now covers just that surface, so everything else is gone. So it's not there. So I can have one clip prey play across two surfaces by the use of this mask. I can also, with a mask. If I only inverted, you'll notice the clip place outside of the mask. So again, when I was saying if there was a little bit of furniture that I wanted to mask out before, you would do this method. And again, you can be much more complex than, than this obviously, but I will not inverted anyway cuz I just wanted to play inside the mask. Great. So what I can do now is I'll just get rid of that again and I restart my mass again. Now that's still playing because I have that selected. So if I just have a look, we got here, so please go down here and advocate my quad. So maybe I wanted to add an effect in there. And then if I'm looking at this, this is my opposing one. So I could have that effect in there to there. I remember I dropped the capacity of that one. So we'll just bring up so I could play with that. I could also add my live feed in on the, on top of that there. So let's just save that as a coalition assumed that, that that live feed. Is working, so we can see that. Let me just give another 2 second language to obtain enough. So you can see how very quickly you can start to build up a whole set list and playlist within your own work. And this is quite a simple setup actually we just four surfaces. What was challenging about this is actually getting a domestic projector to cover the surfaces. And if I'm honest, it only just did it with a little bit of softness at the edges. But because it was a ghost, you couldn't really see and you couldn't really tell. And so that's a really brief kind of introduction into my processes to how we created intense attachment. The other thing with this, obviously is I had dances inside and outside of the cube and we had light. And so the way we lit this was we partly with projection. And you can, I brought some lie in things in, so here we can stroke things. So as you'll notice now, I'm actually starting to layer effects. So if I put there, you can see now I'm starting to merge two clips together. So maybe that one or let's just do, we just get rid of some of these? If I just commands that, it's just I'm doing for me, as you can say. But actually, let's just redo that. Great. Alright, so within this setup, you can start to add your own flavor to it. You can start to add your own content to it. You can start to really kind of adds a new layer, new digital layer to your dance practice or kind of your, your work, et cetera. And the other thing that I just wanted to mention. So this is all we within the interface of mud mapper. So this isn't and obviously if I had projected connected, I would be facing out and I will be looking at live. So I'd be seen this. But actually I've not told the computer yet to give me an output. So this is all, I'm just gonna say that all important theoretical. So all I do is I just go up here to output and a desktop mode, and it gives me a shortcut. So I will just click Full tot mode. And as you'll say, that will then give me a full top mode. Now if I had a project that would be treated as separate screens, so I wouldn't be seeing this on my laptop on a separate display. But you can definitely see the edges of the cube there. I'm just going to just stop a minute. And the other thing I wanted to mention is, so mad mapper, you can save it obviously because it's a project, it's computer file. You can name it. Exporting. So when you export, your output, exports a PNG file of what you've got. So you can see it doesn't export, this is a movie. So you can't export this as a movie file, just plug it straight into a projector. You have to use the software, but there is something called a mini Matt. Now, I don't have that connected at the minute book. If you look here, it says Export Video two, minimal, it's not connected. So you'll know what that is essentially is a minimum that will actually absolutely export this and the output. And it's a little box, it's based on Arduino that you plug into the projector so you don't need your laptop. So if you have a stationary exhibition, so I do a lot of our exhibitions, I would use the minimize because it's a little box that we put out two, we plugged it into a projector and it just plays and it's good to go and we just key framing to everyone and we can walk away and there's no danger of Leave it, leave in a 2 thousand pound plus laptop in a gallery or having to sit there all day. And the minimum is about an inch and a half thick by maybe two inches by four inches or something to it's really small and high double in that sense. And so that's a really good way to get around not having a laptop. And then if you have some time, there has to be timed. It can't be simply that you are responding to in a moment. So let me just close that down. That's not well, let me just get rid of that for a minute. So we'll just pop that down because that's asking me to find it. So let's just have a quick look at this again. Yeah, absolutely. Let me just get rid of that. Okay. So if I go back to my first one, so there's my first scene. And I'll just play this quick. There's my second scene. So I'm literally just queuing where I wanted to be. So multimedia in the selection. So it's telling me that there's more than one media in there. And that's my mask that we discussed earlier. And there's me adding helpers. And then I'm just gonna do one quick one to finish off, which is add some text. And by default it says mad. So I can just click. Thank you. And I need to assign accessing thing. So let's pull out and we'll just click that. And obviously because all of my quantitative sciences, it's telling me that it's all over and that one's back to front and so on. But you can get the idea that you can play with this and you can. And you can see even with four screens, it suddenly can become quite complex within its application. Just take that down for you. And again, this workspace is infinite, so you could have several projectors connected. So that's a really brief introduction to projection mapping and a really brief introduction to the workflow for intense attachment. And I really, really hope it's been abused. 34. Projection Mapping a Minster: Hello everybody and welcome back to this magma tutorial for where today we are going to look at how a church. So I've already gone image of the church where going to map an after this tutorial video up of what we've actually done. So I've also imported some assets that I've created for the first time we're going to do is I'm just going to create a solid quad so I can start to build my masks around the different parts of the Church that we are going to map. Okay, great. So I'll just make this a little bit larger so it covers the full projection area. Here we go is moved across there. And then what we're going to do, it going to drop the capacity so we can see the image behind that we are going to map. So first thing I'm gonna do is create my mask. So I'm gonna mask out the stained glass window here. And what we're gonna do during this projection mapped event is we're going to create new images and new animations for the stained glass window. So, well, I should say, is the image that's on there at the moment isn't actually understanding AS window. It's an image that we've pulled their boss. We did some tests so we could see if this was a viable projects. So the first thing I'm going to do is create my mask that we go and right-click and Beziers mask. So I'm just, I'm going to move the handles across there so I get a rough shape. Obviously. When I get back, I'm going to have to redo this. So all I'm doing right now is just creating the idea and then I'll refine it when I'm on-site. Well, I've just done as well as I've inverted this mass. So I'm just going to bring some content out here. Let's just have a look. I'll just have a look into the media contemporary, bringing a couple of bits of content in too, so you can see how this is going to work. So I actually haven't made the stained glass window mapping yet. But as I said earlier, you will see that content in a video the Upon after this tutorial. So you can see how this all works out. There we go. So already you get any sense of what this is going to look like when we map content onto this building. So I'm going to create a new code here. And I'm gonna spread this and I'm gonna create a mask that is going to live behind the mask that I've just created, which is the stained glass window. So you guys know how to build masks. So I'm just going to speed this process up a little bit. There's a couple of different ways we can do this. So we can do it like we've just done it where we create a mask inside of a quad. And we follow the same process and we invert and we create a second mask. The other way we can do is we can create a mask inside of the element at top left bracket, which is what I've done here. And that's not quite working the way I want it to work out. So I'm just going to get rid of that. And I'm gonna do the mask inside of the quad theory. So we'll just explore how this is going to s102 mascot, my area, and also remember anita invert it. Again. You guys know how to create mass speed this section up for you. And we'll reconvene once we've got this where we want to. So all that's really left for us to do after we've done this process. And again, you can make these processes complicated as you want. Masking. Well I'm gonna do is I'm going to keep this quiet simple cause I'm just going to Mass content desk face because I'm using a 15 k lumens projector. And I want it to be really Brian where I'm projecting from this quite a bit of light noise. So I'm just going to focus on this area of our church. So I'm just adding content to what I'm gonna do now is I'm going to create lots of scenes where I can add my content and then I can program in it and then I can run the show through a madman. But I could also, of course, I could add a midi controller so we can switch between midi, which would give you an interactive element if you are working with the general public, for example, I could also, um, how they change to the beat of the music. And as you'll notice, if you explore map, if you go to the help menu at the top, there is some user guides that you can read and download and have a look at. And I will do tutorials on all of them anyway. So if you are not a big read it like I'm not, just hang fire. There will be 22 arrows coming soon. So let's start mapping content to this projection map, both in front and behind our stained-glass window, will create some scenes and we'll have a look at the final product. Ok, so I've just discovered that some of my content needs an alpha channel. So I'm gonna jump over to my editing program, which is DaVinci Resolve 1617. And if you're interested, I do have a tutorial on edited individually result as I'm sure you already know. So we'll just get this to load up and our creates and content with an alpha channel. And then I'll export that back out and then bring that back into mindmaps to continue my workflow. As you guys have probably guessed, if you're going to get into projection mapping, you're not just going to be mapped in other people's content, you're gonna wanna start mapping your own content. So I'm a filmmaker by trade as well. So obviously I'm apart of my films and my editing content. And while subproblem is low and I'm just making sure I update all of my scenes. So I'm in the current version of where I need to be within the project. Okay, so I'm just going to get my Logos in order and figure out where everything is. And what I'm going to do is I'm going to bring all these logos into one log of. So there's three counterparts. And I'm just going to bring them all into one. So it runs as one movie file with an alpha channel. So if you're creating projection mapping content, either your work or somebody else's, you're probably going to need to have a basic knowledge of video editing. And there are lots of programs out there, so I'm not gonna tell you which one to use. Obviously, I have my favorites and other people will have their favorites. But find an editing program that works for you within your workflow. Great, so we've got all of these. Let me speed the section up. Again. This is not an cluster and editing is a class on projection mapping, a real-world environment. So my content is in Malmo pronoun with an alpha channel. And you can see here that I'm just shifting it around to make sure it fits inside of that quad so it's ready. And it plays exactly where we want it to play and it doesn't ova sperm and it's exactly positioned where it needs to be. And I just update that s2. I make sure that scenes in there brilliant. So that all looks really well. It looks like it's going to work in IT or works within the program, et cetera. What I'll do next is I put the video of the actual projection in a real-world environment so you can see where we ended up with this project. I hope you enjoyed this one and I'll see you in the next session. 35. Bonus Rotherham Minster Projection Map: Right? Okay. Okay. Okay. Right. Okay. Okay. Hello. Now what will happen? 36. Projection Mapping - Body Mapping using madmapper: What So far. 37. Pixel mapping tutorial: Hi everybody. So you've been using Mathematica for awhile now. And I've shown you how to projection map with it, but there's other things it can do. So in this session, I want to show you pick some mapping, which is another function of mapper, mapper. So I'm on garbage cubes website. So they are the guys that made my mapper. And here you can see some other things that the software could do. So this specifically is around LED mappings. Let's just go to top and let's have a look at the products. So this is the homepage we'll go down to LED. There we go. Okay, so within here, this page gives you either an option to buy some LED cues and you could buy LED cues from other places as well, the addressable and pixel mappable. So just scrolling down, it just shows you a little bit of what Mathematica can do when using LED. So these are the LED strips were using software using the RGB ones and they're really versatile. So I have the 50 centimeter ones and I'm going to show you a little configuration I've built together by wanted to do this bit first, because it can be quite daunting if you just see it in its full form, et cetera. You can also build lots of different configurations and there's lots of examples. And I'll link to some in further videos where you can see some examples of what other people have made. I'm just quickly going to show you the kit that I have. Again, other kits are available so you don't necessarily have to buy them from garbage Cuba. They work straight out of the box. So I've bought this one, which is the starter kit, and it comes with all the accessories that you need. Just a quick note, if you are buying the Skip, make sure that you get the DMX to USB Pro interface. And I'll talk about that later on in this tutorial. Okay, Let's jump in and I'll show the configuration we're working with today. Okay, So this is the setup I'm working with. So I've just configured these LED strips as you can see. So it's just a strict with lots of pixel lights in there and they connect together. So if you buy the carriage Q clip, they just connect together and you can see how they're just, there you go. There's why excruciating into the next one. And it gives you an arrow direction for the flow that your lines are going to be. So this is a random set of the eyepiece bill is a quick little installation a because I wanted to test these out and be for the purposes of this tutorial. It also comes with a power pack, so you just again plug and play and it's really self-explanatory. This, the one thing I wanted to show is make sure you get a DMAIC USB Pro. So I've got the integrand. I don't have a garbage coupon, but either a work fine. Okay, Let's jump in to the software. Okay, so we've opened up mud mapping here. And the next thing we're going to want to do is we go to our preferences at the top, click Preferences, and we go to our DMX output and you can see I have nothing selected because I don't have my USB Pro interface connected, so I'm just going to connect this OK now. So give me a second. There we go. That's connected. And if I go down here, a is not seen anything. So let me cancel that out and try this again. So here's our preferences. There it is. So it's instantly started to read it. So it's there, it sees this then all I'm gonna do is I click Okay. Fantastic. So that now is telling mad method that we're going to have DMX outputs. So that is the intact DMX USB probe the I showed you in the video earlier. Again, there are others available. The end tech is on the recommended list, but garbage cube and mud mapper have their own. Okay, So let's start the processor. Instead of creating a quad, what we're going to do is we're going to move over and we're gonna go to this light bulb here, which is our DMX outputs. So we're going to click that and that gives us a new interface. So what we're going to do now is we're going to click DMX over here with the plus button, so we click that. And then underneath you'll notice that we have our fixtures library. So what I want to do is I want to change this to the ones that I have. So I have the garbage cube, RGB, no, 0.5. So I'm going to select that, but before we do, I just have a quick look down here. So there are loads of other, So you can have generic pixel's, RGB, y, etc. So there's quite a few for you to select from. So you don't necessarily need to use garbage cubes, but I do have them, so I'm going to select that. Okay, so let's have a look at the interface. What we have here then is our first fixture. So our first fixture is our first slides of these red lines here represent the pixels in there. So there are 10 mappable pixels. So what I'm gonna do is very quickly just pull across there. I'm gonna do this randomly for now because you guys can do this. If you have this LED care or other LED kits, you can do this. I just want to show you how the system works. So there's my first one. Now I can, I can click DMX Plus and create a new one. Or I can just copy and paste or Command Vacas. I'm on a Maxwell, that's my fixture too, so I can rename these, fixed the tube two. We just pull that across. Let me do the same for all of these. And I've got 16 of them, so I'm just going to create 16. There we go. So they're all stacked on top of each other. So just for now, I'm going to move these across, give them different sizes, and so on and so forth. And I'm not doing this in any particular order, I'm just doing it randomly. For the purposes of this tutorial. Obviously, when you do it, you will spend much more time playing with where you want the placement and where you want the aligning, et cetera. Okay. So we'll just move them across there. And again, no particular order. And I can change the shy shape. I can change orientation of the and change the size of polar over there and then pull that over there. Fantastic. So that is my 16 features which correlate to the 16 LED light bulbs that I have. The next thing to do now is to put content on them. And again, this works in a very similar way to when your projection mapping. So, okay, so we're here and I'm just going to select this for example. So that now is on my first fixture. So if I select all of them, multiple media in selection. So that's telling me that it's all selected and I'm going to go for that stroke selection. So that will now create the effect on my LED lights. So I have created one earlier, so I'm going to open the one that I've already created because I've already built this up. And I spent a little bit more care doing this. Let me just open. Actually, let's just cancel. And I'll open a recent project. Open reason, there we go. A 100, we don't want to save that. Okay, so here's one I've already created, so I have my fixtures. There we go. So you can see them in met, they're highlighted there. I also, I've created scene, so you can create scenes exactly the same ways you can do with calls. And you can add content to them like this. You can, even, this is super cool. You can even put a video on there. And all of the lie and the video will then play in your projection, pixel mapping, et cetera. You can then Q them and time them like you do previously. So I can go into my live mode and I can time these however, I want them to play, for example. Okay, So that's a soup quick tutorial on LED pixel mapping. I know I've not gone into too much detail because I think it is really self-explanatory. When you're doing this inside of magma, do message me if you want any clarification on anything or there's other things that you'd like to try and you're not quite sure about it. Other than that, I'll show you a little video that I produced with this configuration in a moment. Other than that, go have a play, connect everything up. And I looked to see what you guys are created. 38. Led pixel mapping tests: And now Mm-hm. 39. Jasper Lisperjic Talks projection mapping : Welcome to today's session. We're going to do things a little bit differently for the next couple of sessions, I'm going to interview some projection mappers from around the world about how they got into projection mapping, what kind of work they make, and any advice they can give you guys during your projection mapping journey. Today we're talking to Jasper. Jasper is based in Amsterdam and he is a projection mapping and musician. Let's have a listen to the interview. I'm I live in Amsterdam or near Amsterdam? Yeah. So what time is it where you are as a PM? Let me check. It's now ten yeah. A one hour in front of me. Yeah. You're in England's than I guess? Yes. Yes. I mean I mean the UK. So whereabouts in the UK? I mean Yorkshire. So just outside of leads? Yeah. Yeah. Awesome. Yeah. So that's a pretty nifty cell you've got behind you. Yeah, It's my modular system. I use this a lot as well for for visuals, but also for music composition. Sure. My quarantine project basically. Okay. Okay. Sure, Sure. Well, let's dive in and adjust. But can you tell me Hello bit about who you are and what you do? Yeah, sure. So yeah, Obviously my name is Jasper. I grew up in the Netherlands. I started working around or study, it's around 12 years ago, sound and audio engineering in Amsterdam. And started volunteering in a variety of clubs in this area. And already back then, there was this or at least the owners of the clubs one, it's if you were interested that you would do both sounds and lights, which back then I was like, Sure, I can do both. I ended up not being able to do both, but but then I got more and more into the visual aspects of parties, but also the creative aspect of creating visuals. And working with projectors. I spent four years done in Vancouver working for Clark's idea audio visual big company in Canada. And we would do a lot of projection mapping on buildings into public space was very focused towards either corporate interests and needs and marketing purposes. When I came back to Amsterdam, I kinda continued doing this, this projection mappings in the public space only more towards to the creative sites to create political awareness around certain subjects. Guerrilla style, going with a generator and a big projector to whatever building I could find it a city and just project on it. Sure. So I've been doing this for the last couple of years with a group of friends in and around Amsterdam. And obviously I'm really into music. So I was for last few years been trying to find a one-to-one combination between sounds and visuals. Because whenever I was doing visuals in a club Bible was most of the times one step behind door. I wanted to have something happening every time there was a snare hits or whatever with a modular system connecting this or at least sending midi outputs. I can do it once a one and there is no latency. So that's what I'm learning and discovering now. But work dried up here. Well everywhere Actually, yeah. So I'm reinventing myself a little bit and I know do a lot of projection mappings for the retail business, right? So from, from restaurants just projecting their menus whenever they launched a new menu, but also in the shopping streets, I projects on dresses or new clothes or guards when they're released, stuff like this. And it's not particularly my interests, but yeah, I need to make ends meet, so sure. And I think predict from other things, what are those really interesting kind of hybrid algorithms where you can have kind of high art, but also you can commercialize that and make money from it as well. Yeah. Yeah. Well, and I think it's a logical result of growing up in kind of a digital age. We have way more tools at our disposal to be creative. And people do spend a lot of time in a virtual space on their computers. And there's a lot of tools for us to be creative on a computer. And maybe like five to 10 years ago, a lot of people. For example, my parents would look down on this and say like, Yeah, you shouldn't spend so much time on there, just go outside, play or make a drawing or whatever. Yeah, I was already doing that inside of a computer and now it's getting more and more accepted. And also, yeah, you can make a living from it, which is really interesting. Yeah. Yeah. No, no, absolutely. So what software do you use when you're mapping Men? Guys started off using, for example, blender and cinema 4D. Because I was a complete novice, I would recreate everything by two centimeter what's in the physical space. And then I didn't understand anything from cameras and focal length. So I would just position the camera where my actual beam or LAS. But yeah, and I ended up using resolution to project everything and final touches. And nowadays I'm primarily using resolution in combination with Touch Designer discovering as moats. At the moment. That's what I'm getting into a little bit now. Yeah. Yeah. Yeah, I know. Sure, sure. So I I I've played with resolution and I'm not quite get my head around it yet, so I'm using Mathematica. Yeah. And what my bucket list? Well, my GPA was the reason I use it. It was a friend of mine who I learn projection mapping from initially used it. So he's one of those wonderful things of the first-person I encountered using projection map and use the software so I can immediately withdrawn to learn that software. It's on my bucket list and I've experimented with them software called heavy M as well. Yeah. Which is really interesting because, you know, it's really intuitive and it's really simple and you get really interesting results quite quickly, but it's also very limited. And I also like this that there is no more and more of a variety of software which you can create stuff and not only for projection mapping, but I think it becomes, at least for me, becomes interesting when you try to either combine or because every piece of software more or less has its pros and cons basically, yeah. For example, touch designers really abstracts and it's hard to get anything that resembles any thing we actually know from the real world. But if you combine that into two, resolute, for example, as well as what I do. It's easier to get very large images, which yeah, yeah, yeah, I would map, mapper as well. It's mapping 3D objects becomes way, way easier than for example, with Touch Designer here. Yeah, I've started learning Touch Designer this year and I've, I've, I've just got my head around the node based system. So i'm, I'm, I'm, I started my career as a filmmaker. I still make lots of film. And and I switched from Adobe to dementia resolve this year, which is node-based. And actually gave me really good grounding to start lending touches on it because I instantly understood the interface. Yeah, When I was previously trying to learn it last year, it just kinda, I was really struggling with kind of going from a linear based editing system through a note based design system. But I think he's definitely worth people kind of learning more than 11 proprietary software really empty. It just makes more adaptable, doesn't it? Yeah. Yeah. Did the other side is as well. If you know a little bit of a Luddite than still you don't know quite, quite much. So it's good to just spend your time with one piece of software and really seeing where the limits and boundaries are. And from there you will figure out like, Okay, this is what I'm missing, this is what I need. And then you'll progress into two different pieces of software that might complement this. Verify how does here she got her friend of mine dropped off this piece of gear that was kickstarted a year ago to see if we could sell it. Let me I keep forgetting the name, but yeah. So we were seeing how we could use the microphone. Yeah. This is a tough one. Yeah. Yeah. Yeah. I've been playing around with it for for two days now and I deeply disappointed, but those are pleasantly surprised. But yeah. And you just some, some creative skills widths with, for example, with After Effects then yeah, you can really make awesome things in it. And especially for retail businesses, this is quite interesting. Absolutely summed up my experience with it as well. I was so excited when I saw the Kickstarter and I immediately kind of both. Yeah, I got the second wave, not the first wave. And it came it came maybe six months ago. And I was so excited, I was like Christmas and then I kinda open it, play with it within a couple of hours I was going Oh, it's not what I thought it was. Really nice interests. I mean, it feels like almost like a how-to kit for me. Yeah. Yeah. In that sense, Definitely. So what advice would you give to anybody that wanted to kind of get into projection mapping? Tough question because for me I have experienced a lot of people that are into either VJ or projection mapping with a variety of reasons. And it depends if you wanna do with artistically or you're really looking to make money. And I think both or the combination r is actually very feasible. I would say less is more especially in the beginning. Don't try to. If you have, for example, a Beamer on, on the building, don't try to fill in the whole building. Tried to sense weights. What is already there? Yeah. And slowly go from there. Sure. Because you're at least I never trying to recreate a new world. I'm always trying to make what is their a little bit more interesting. But I've seen people doing it here in the form of protests and demonstrations. For example, around the whole Black Lives Matter. Protesters, people that go with their projectors and shine on police buildings or projects on please buildings. And it gains a lot of attention. So I think it's good to, to see what's happening in the world around you and what really interests you and take that as a, as a source of inspiration. Yeah, yeah. Yeah, use the public space to make people aware of what projection mapping is. Because most people are still clueless about this because you find it in clubs and maybe at some art shows or galleries. And there isn't a whole lot of, well, there's YouTube of course, but the source of information is still pretty scarce. Yeah. And I think what I did, for example, like learning Cinema 4D, I was watching videos on the Internet and just redoing every step I was seeing wasn't particularly my interests, but it did end up giving me a lot of knowledge that I was actually useful later on. Yeah. Yeah, yeah, sure. And that's a lot. That's why I've done this beginner's guide to mop up the course really because I was learning in my videos there so bad and so robots here. You just kinda go like driving me insane. I just need somebody kinda in plain language just to say It's me. Oh, that's well on assays. Oh, that's what a coordinates. 0. That's how that's how I connect not to the beats per minute now. And yeah, that's amazing that they're doing this and it's really necessary. It's also a bit like how we used to learn, for example, carpentry. Decades ago you would go with somebody and he would sell you step-by-step like I'm doing this for this reason. And now you can have it in the virtual space, but yeah, it's basically the same thing that you need. Yeah. Yeah, absolutely. And so I guess I just have one final question, just really and so kinda, what project are you most proud of him? Why? Ooh, that's also a tough one. Because I think it's two-fold. I think my proudest moment was a few weeks ago when I finally got my modular system, working with dutch designer one-to-one. Because what I've been looking for for so long and then it works and it happens. And then I'm like, fuck, this is magic. But that's just a personal goal. And I think that one of my best moments, I guess was around one. Yeah, One year ago when we were doing a projection on the central station in Amsterdam. And we were flushing or showing videos of there was this demonstration in the north of the US regarding a pipeline that was being made. And we were projecting basically what was going on there. And a little bit of the history of Donald Trump in the US and some kindness with children, et cetera. I'm, I won't get too political. But we were projecting this. The police asked us to stop doing this. And the public sets like no, we, we want to watch and we ended up having a few 100 people watching it. In this way, we created awareness and I think this is, showed me how powerful of a tool it can be. Yeah. It's also useful for that. Yeah. Yeah. And I think that's also one of the amazing things for me about projection mapping is that there isn't just one way to do it. Now it's about, like you said earlier at finding your interests. And it might be political or it might be for the R, or it might even just be commercial. Actually, it's using kind of this, this projection mapping ethos to Canada to relate on. I think that's really great. With painting. You're limited to the canvas you have. And with projection mapping, you're limited to the objects in the world around you, which yeah, there are so many distinct yeah. It's like a harm a harmless form of graffiti. Yeah. Yeah. I guess. And then finally, how can they can people check out your work? How can people connect with you? Well, I'm mostly for my music. I'm on some clothes and we're launching a new page for our commercial side of things, which is called glitter for products. But that's really focused on businesses. So they might put a creative person be not that interesting. And four, in regard to combining modular with Touch Designer, I'm still figuring it out. It's not going to publish anything yet. And, and we met on social media, didn't we? We mount the projection mapping. And I'm also quite active there. Yeah. Yeah. So I'm I'm using happens. Yeah. Yeah. So people could kind of request to join that and have conversations with you and so on? Of course. Yeah. Yeah. Perfect. I'll just say thank you so much for your time. I really appreciate it. My pleasure. Here's an ala. Ala, Thank you out you're doing. Thank you. Thank you. And I'm sure I'll speak to you very soon. Take care. You too. 40. Holly Danger talks light installations : In today's session, I talk to Vijay and video artist holiday danger about her practice, how she creates work in the United States of America, how she uses MATLAB, but she's got some great tips and tricks for you. And we look at her work and we look at how she creates, what she creates. Let's have a quick look at Holly's promo and then we'll jump straight into the interview. Let's move on. Hi. Hi. There. We're doing. All right. I'm glad that our time is he was able to sync up here. Yeah, absolutely. I did have a mild panic. I power cook today and he told me my Internet out. So when you message me, I was fronting the kind of tended to route through out enough. Now I understand I actually we do a livestream show out of my gallery space here every couple of, every few days. And last night that the Internet was completely down, we had to cancel the show and it was just like I still got to work on it. It's better today, but it was just so slow that we couldn't get it up and running. We're using OB. Ob yes. To do like a whole production and it was just not happening last night? Yeah. Well, I mean, it's covers is we can get with technology. We're still at the behest of the fiber cables and so on. I know it is, It's so frustrating. So thank you for joining me today to chat with you know, me too. I was I was kind of overwhelmed when people start message in some I'm really pleased. So I guess. So I, I know a little bit about you because I've been internet stock and you today and I put on your website and so could you tell me could you tell tell us a little bit about kind of what you do and why you do it. Sure. So my name is Holly danger. I'm a video artist and a live performance BJ. And gosh, I've been doing, I've been teaching for a little over 12 years at this point. And I would say a kind of a video artists for about 20 years. Although I have a background in traditional video production post-production, I've been a video editor, started as a graphic designer, developed into being a motion graphic designer. And you know, but having those jobs you kind of always, or somebody who sits in a dark edit room by yourself and it's very isolated and type of position. And that wasn't enough for me. And so I would I would leave my day job, which is normally working in like advertising or corporate video production. I live about an hour outside of Manhattan, so I would drive down in New York City. I'm kind of like in the suburbs. So there's not a lot of like art and culture and music around here is I have to like go out of my way to find it. And so I would drive down to Manhattan like five nights a week in search of that kind of culture and inspiration. And in doing that, I came around, I came across large-scale installations at the moment, and I would go to underground art parties where they're doing video projection, Vijay and all that kinda stuff. And I said I kinda made that connection between the type of creative work that I was doing and the creative work that they were doing. And I just said, okay, this is definitely the path that I need to go down. And so that kind of completely pivoted my my life path. And you know, but but for the last, for the last 12 years, I've been working in corporate video production and kinda keeping my art life and video projection and all that kinda stuff on the side. Not, not actually thinking I could make a living doing this. And then in the last year I kind of had a change of heart. My said, You know what, You only have one life. And I completely fell in love with. The medium of projection are creating installations and live performance. That I quit day. And for the last little over a year now i'm, I'm full-time video artists where I create immersive installations and I perform audio visual shows. I have, I'm actually sitting in the danger gap. I'll rewrite now, which is an immersive art space I created out here in the suburbs where like I said, this type of work doesn't exist around here and I wanted to bring it to this community. And so I've kind of been full force doing this now for about a year. But, you know, and now COVID, COVID changed the game again. And now Charlie, right? So we're always, constantly pivoting, but that's just like a short, short history. So you have you have your digital practice it but you also have gallery as well? Yes, I do. Yes. And it started with sorry, my phone keeps ringing. Let me just turn it off, I think. Okay. So so I do have my tradition, my at my own practice, and I have my gallery here. It started out as a little bit more of a traditional gallery where I was bringing in local artists. And then, and then I kind of realized like a really wanted to focus on my own work for awhile. And though, so I'm just kinda been using the space as like a showcase room to kind of educate people around here how they can use projection. Whether it's an immersive environment or backdrop for a concert or a drive in theatre or something like that. So I've just been using the space to kind of create my own work, document it, and share it into the universe. And that's kind of how I've been able to develop a business. Oh, that's amazing. It's amazing. In terms of in terms of your projection method then. So what kind of stuff do you map? Mostly, I would say mostly room installations. That's kind of been something I've been very excited about. Something that I really enjoyed creating, kind of like sanctuary spaces, spaces that feel very meditative spaces that kind of just completely envelop you in all of the senses were even just like the scent in the air has a texture to it or something that just evoke some sort of emotion. And so the mapping that I'm doing mostly in my gallery space here. And then as I get hired, i'll, I'll be mapping projection walls like sorry, like street, like shout out in the street. I'll do like street Miracles. Yeah. Pretty much. I mean, anywhere. A lot of gala events will hire me and they'll say, Hey, we've got this wall over here. What can you do with it? Yeah, and, and what's so wonderful about mapping is that you can really just kinda put it anywhere and just develop what you want to transform the space. Absolutely, absolutely. So what do you use when you are mapping? So I'm using mad mapper primarily and I actually use it in tandem with my BJ software. I use a medium x. And I've actually found that mad mapper, especially if you have really large files. If I'm doing a full room, sometimes I'll I'll actually instead of breaking it up in mad never, I'll have like one huge template if that makes any sense. And it's all actually run it through media max because I've had trouble with audio issues going directly into mad mappers. But if you play it through media mix, that's actually fixed all my problems. So I really yeah. Because I also have audio issues with metadata. So I don't know why that works, but it does and it is completely saved me in terms of being having public installations. I had, I had one where I played everything through mad map or directly, and the music kept skipping. Like every maybe the file was to hear her Jedi, I compress it to a half codec, which is what you're supposed to do. Supposed to runs more smoothly. But yeah, I kept getting a skip and I was like I felt like I apologize to people coming into the room and they're like, we don't even hear what you're talking about. Yeah. Drove me it drove me nuts. And then I talked to you other video artists, friends and they were, they were like try, try it through your VJ software. And that solved the problem. Wow, I really, I'm actually going to try that. Actually. I'm gonna do some testing this week having some retry that. I also use my buffer. And because the AI design, it's like a beginner's guide to Mathematica. Top tips for my Panther. Oh my goodness, top tips are mad mapper. I jeez, I don't know if I have any. I'm I'm still like I'm actually been using that mapper for about three years, but I still feel like I've only kind of crack the basics of it. Yeah. I feel like if I gave any advice, it would really be to, you know, anyone can learn software. But I would say to really focus on the content. And you know, like my, my main business is working in After Effects, developing the content, developing the designs. And I feel like that's where I would, I would tell most people to focus their energies because you can always you can always use the software and it is pretty, it's pretty. Easy once you start using it. So I honestly, I feel like the biggest advice I can say is get really messy with using After Effects and also to make a ton more work than you would ever expect. I started a daily practice last year, putting workup on Instagram. I called it garbage Art. And what I would do is I would make, I would give myself 30 minutes to make 30 seconds of animation. And I would post daily whether I liked it or not, which is a really difficult thing to do, especially in some way as someone who considers himself an artist. You're like, okay, I only want to put things out that are beautiful, that I feel like are at my high standards. But it got into this habit of just doing it every day and putting it out there. And a lot of the work that I didn't think I liked once I projected it in the room, it became something completely different and I looked at it in a different way. And it became installations that I was able to use in later works. So yeah, if I were to say anything, yeah, I wish I had tips for mad mapper. I don't think I really do. I really think it's about put your energy into the work because that's what's going to speak. But the most absolutely agree with you. I mean, my math is so powerful, unlike you, I been using it for about three years actually, and I still feel like I'm just scratching the surface and then I find absolutely, I'll be, I'll be in my offset, so I'll be in a consumer and I'll right-click and I go, What's this? Where did that come from? Yes, it just a bit. No, I completely agree with you. Like it's got some great kinda stuck assets bill in but at a job, and that's good for learning and playing. But absolutely cannot develop your own assets, used those kind of After Effects or resolve or Photoshop or whatever it is. Because that was really kind of started bringing your artwork to life. And I've also found that as well. When I'm, when I'm designing stuff to project, I always have to recheck when I put it on the surface, I go I need to adjust the contrast. Yes. Yes. And it's definitely a learning curve, all the different types of places that you can put it actually, for example, I just did a event over the weekend was my first live in-person events since since COVID, so for like three months. But the location of my projection got changed last minute and all of a sudden I was on the side of a barn that like half of the barn was brown, half of the barn was red. And then people are just like, Oh, just do your projection over there. But they don't realize how much that changes things. And then I wasn't I wasn't in control of the equipment. They had hired somebody else to get the equipment so that when you don't have control over that, then, you know it's an underpowered projector and absorbing the colors. Right. And so at the end of the day I was just like This could have been so much better. But most people don't know that. So I feel like I'm so glad that you're doing these video courses because we need to talk about these things. We need to have a community and we need to educate on all the different there's somebody a little details that we need to think about. Yeah, absolutely. And, you know, I I I stalled out for so long because I was so nervous ago, but I'm not an expert because I'm still learning. Yeah. And then it is a friend of mine. Just kinda went UP talking about this for a year. Just pray out in the world what will be, will be. And I have to say I put it on the forum where we met facebook really kind of tentatively. And the response has been wonderful. I like, like, I've been having chats with people who are now, this is great for everybody. Like we had our fair share, everybody go. But I'm not really hardcore because I do this version. And everybody said that to me. And I think that's really interested about about kind of what we do is we all think somebody else is no hardcoding. We are. That was actually my first reaction to you. I was like, Oh, I hope you're not looking for one of those geysers during those enormous setups because I'm not doing that. I'm really using mad mapper for just the basics, you know, fitting it into the space and then really caring about the story and the concept and the content and the visuals and then everything. We were just I'm really glad that you pointed that out. Yeah, No, I think it's really phenomena. We have to check before I come from a film background. So for me, I use a lot. And I actually, I actually come from a dance background originally and then segue into film. So I do a lot of installations be done, so I use it kind of film some movement in another space, and then that gets projected with initio, it becomes interactive with live content. Yeah. So when we come at me doing that, and then the next week I might be digital billboard in some way. And the realities, the world is, sometimes I'm stood out in the rain for three hours, go in like this. Oh my gosh. Well, it's funny that you say dancers too, because I've gotten a couple of calls and the last probably like over the last few months and more and more dancers that want to work with me. I haven't done any of the interactive stuff. Yeah, I think that's kind of on my next to learn. So if you want to put out another course about interactivity, Touch Designer and stuff like that. You let me know. Yeah, well, I'm I'm I'm literally learning touches on at the moment actually. And I spoke to a guy called Jess bell in the firm who uses Touch Designer in Jasper in Australia. I know just the a and the DEM. So Jaspers, Jaspers, not so common names. So I just assumed that, you know, all 6000 members. Well, I mean, you know, I've been around for over a decade in that community, so I do know a lot of these names. When I interviewed Jasper, who is always very, very, very lovely, light yourself and very kind of open to sharing. But he said behind them, I was just kind of places in saying is insane. I mean, he said, Oh yeah, no, it's just my sets of genes. Okay. I have two projectors. A lot. Software. Sure, sure, sure. Yes. I have personally spent all of my paychecks over the years on on equipment. I have I think I have six old projectors in my storage unit answers, but they're all four by three. And like really old resolution, I'm like, What do I do? These things do I do I make some old retro installation and like just use all of them or do I scrap them all and buy new laser projector credits? Yeah, absolutely. Just daisy chain them together in a tower, right. Right. Right. So I don't know, I keep I keep that stuff around because you're like Maybe I'll use it one day, but I don't know. It's probably just a waste of space. Now, I do the same. I did the same. I've got an 18 k projector, which is the mini is passive. It's just doing what it needs to do. But I'm looking at a slide, this big heavy, right? Yeah. Yeah. And I'm looking at the newer ones that I'm lying. But I just can't justify it. Especially really gosh. I would kill for an 800 k projectory. You kidding me. I mean, I share it with a friend. It's not my mind, but yeah, it's good. So then so in terms of in terms of the kind of mapping journey, do you use any of the peripheral separate my Mac, I like the mini model, the modalities. Ooh, I did by the mini mad, I've used it for maybe two projects so far and I don't know, I feel like I need more of them right. Because that's the only one and it's one per projector, right? It's like yes. So I someone gave it to me as a gift. I used it. I used it wants to set up, but I haven't really used it again. So I think it's a great idea. I don't know why I'm not using it more. Well, I have the same I absolutely DIV1 and I bought it on a win because I was doing, I was doing an installation in a gallery. And that is that wonderful. They have great, but there's no security at that, but I can't leave a laptop that sort of we've actually right. So I thought, well how am I going to get round bits? And it was a static installation. I bought the mini-map and we did it and it was great and it works. And I'm going to use these and you use it. It's a great idea. I agree with you. I don't want to leave my laptop out anywhere, but I guess, you know, a lot of the shows and gigs that I do are pretty much like one-off shows. Like either I'm there with the equipment or, you know, it's just a few hours and we leave. So I actually haven't had any long-term projects. And the ones that are in my gallery, everything's just set up and i'm I'm here and I do shows. I'm host. I'm setting everything up, I'm hosting and it's all my equipment that's just permanently installed year. So it's interesting, I'm glad you brought it up, but I feel like I should find ways to use it more. Well, I'm looking I'm looking to get in the mud LED lighting kit because I've just started diving into light installations. So I did one which is very simple, kind of DMX control, turn lights on and off with dancers. And it is ridiculously simple, but it was so effective that I saw on my investing this a little bit more in terms of and that's why I love, and that's what I love about magnify their projection map. But you can also design light installations. Yes. Yes, I did. I did take one class on exactly what you're talking about. Because I was very lucky. I, I personally learn, or at least I have traditionally learned more from people being present. Shared experience versus the tutorial, unless you find really good tutorials. So I'm excited to watch yours. But there's, there's there's there's one place in New York City. I had mentioned it to you. It's called Culture Hub. And they usually have all sorts of visiting artists in there. And there was one artist named Chicka. You can probably check her out. I think she's part of those Vijay union and Facebooks groups and stuff like that. But anyway, I learned a class, I learned mad mapper from taking it from her. And then I came back like a few months later and I took it from a lighting perspective. I found that to be harder for me to wrap my brain around for some, for some reason maybe because I'm a more of a visual. I don't know. I guess I've just been so like enveloped in content and visual like animation and things like that. But the lighting was, which is a very far-out idea for me, but I enjoyed it. Yeah. Yeah, Same for me. And I think really for me, it's doing these courses is really kind of reignited my passion to learn more. Yes. So I think that's kind of wet where my brains out. So what is the project you're most passionate are proud of. The one I want, I haven't done yet. Whatever that exponent is. No. Okay, So always an entrepreneur because you know what, It's funny, I latch onto these projects because they take so long to make and there's so much troubleshooting that goes into things. And I just feel like people don't even realize how much it takes to produce these things. I'm I'm always like, you know, I I feel like I go through something with each one. And the one that I make. Like the each each one gets better than the next. I mean, as it's supposed to be, right? But so the last one that I did was one of my favorites. It's a room installation called lead and let go. And I made it to be shown at in Miami. It was during Art Basel. It wasn't at the main our Basil, but it was in one of those like spin off. It's called Satellite Art Fair. And they'd given me this co-working space. It was a defunct co-working space, three walls, white walls, and then one was glass and it was, I think 15 by 15 feet square. And so it's funny because I mentioned earlier that I've developed like an instrument, like a daily practice. And so when it came time to do this art fair, I'm like, Okay, I actually have developed as a bank of like a 165 days worth of material. Some good, some bad. But I was able to look through all of it, kind of see the patterns and things that related to each other. And I actually started turning this into the installation for that art fair. And I ended up buying three short throw optimal projector's. Each of them we're about, we're under $1000. So not not too much of an investment, but enough it was brand new equipment. But you needed that for like a 15 foot by 15 foot room. You really needed. So I wanted to cover it from floor to ceiling time, really get that immersive experience. And so I just created it kind of just like very slow like visuals that kind of go a little bit past your attention span. So it kind of pulls you. And the space is so small that it only fit about 15 people at a time. And so I put white rugs and pillows and things on the floor so people could kind of come in and lounge and just became this very intimate space. People were having some nice intimate conversations back and forth. And I swear it was like the most engaged piece I have ever made. If you've ever been at Art Basel, like people in the main convention hall and people go in, they see a painting on the wall for like a minute. Not even like I swear I watched people look at things for like eight seconds and walk away. And it wasn't, there was no connection there. And so in my space, I created a 20 minute audio visual loop. I'd worked with a musician that created binaural beats. Yeah, I think I said that like, you know, different frequencies in each ear, you know, kinda brings you to a kind of a meditative space. And so I kind of paired those, those sounds with my visuals. And people just stayed in my space for like an hour and it was just so lovely I had to kick them out at the end of the night. But it was said it was like a really lovely experience. I feel like I got to have very meaningful conversations with people from around the world. And it was just like such a fulfilling experience for me that I said, Okay, this is what I want to keep doing. It was just so lovely and it just everybody thanked me. They said, You know, it's so crazy out there going to these conferences and running around all these different events and parties and everybody is always so busy, right? And so this is the opposite of all of that and it just kind of shut the world out and give you like a quiet space. Yeah. So anyway, this is an area that I want to keep exploring, like the sensory experience, an immersive, but like an emotional kind of quiet space. And so I really enjoyed that. I think i'm, I'm gonna keep kinda pushing into that. See what see what happens. I've got a project covenant which is working within a massive don't want to do that for awhile now. Well, near where I am in the UK, the source and investments, University of dome training power. Not the it's not MSG sphere, is it? I don't know. It may be actually. It may be. So it's how in Leeds? In the UK. Okay. Okay. Okay. I think this one's in London, right? Maybe the same complaint. It's branched out across, across actually because it's probably a big university investment. And I just I just met the woman. Yes. The issue what if I gave you an immersive space? Would you be interested aside? When can I do? Wow, that sounds amazing. I know, Right? So, yeah, it was really interesting. So what is, what's the space that you ideally want to project them? So if I said to you now you can project on anything, any space you oh, wow, nobody's ever asked me that. This wow. Maybe like an airplane hangar. I think I would like to take over an entire airplane hangar. I don't know what I would do with it yet, but thank you for giving me that idea. Like, I live on the Long Island Sound out here. You know, it's just like very quiet and there's a lot of boats and I've seen some people project on sales like sailboats and things like that. That's also been something kind of interesting, like having a moving projection on the water with the reflections and things like that. But I haven't done anything like that yet. Yeah, sure. Sure. I I wouldn't do an IPO hang and m Let's do it. They absolutely. And so I guess fine and need and how can people connect with you and how can people find you? Sure. So like I said, my name is Holly danger. And so I've kind of taken over all of the social channels with that name so you can find me anywhere at Holly danger or my work is all on holiday danger.com. On your website is phenomenal by the way. Thank you. I'm still working on it. Just about to YouTube YouTube channel. I should also say that twice a week, Wednesday and Saturday nights I do a live VJ performance like actually an audio visual. Since, since COVID, I'm not working with external like musicians. I've, I've started doing it myself. So DJ V D J session twice a week, wednesdays and Saturday night at 09:00 PM Eastern time. And they can find that on YouTube at Holly danger. But I'm having a lot of fun with it. We're actually going to be doing our 30th show since quarantine this Saturday. 9 PM Eastern time, nine PM Eastern time. So I'll make sure that we put out. I'm reaching out. I do have one final question. I actually got Trotsky and of course, well, what hardware do you integrate into your workflow? What hardware do I integrate? Gas. You're asking me some techie questions. I mean, I just honestly, I've run everything off of my MacBook Pro. So like I I don't really do anything crazy. I irreligious run everything off a laptop and that's been fine for me so far. That's absolutely the perfect answer because part of the whole my whole ethos is the actually this is should, this, you shouldn't be limited by budget and kind of big tech. So I do I do lots of domestic work and I just use to Ben Q short-term objectives, about $800 each. And they grade the absolutely brilliant. I mean, obviously I wouldn't take them onto a building book. And my night, when I'm inside, I can just daisy chain them together. And I've got this really kind of wide. Once you can control the light. Yes. Got it becomes a really interesting, kind of financially viable way to do it for any Yes. Yes. And yeah. I guess for me personally, when I do outdoor projections, I budget rental into the cost. And actually in the last year I said, You know what, I don't really want to do the setup anymore. So I'm actually working with events company, take care of setting up the trusts and the lightning and all that kinds of obviously, that's a particular client that can pay for that type of work in order to be able to do that. But all I do a lot more indoor work than outdoors these days. Men, maybe that's maybe that is budget related. But I've totally fall in love with and I have an any seat laser that's I think it's a five K laser, but it is bright. And if you do join us on our live stream show, I use that one laser takes over the entire gallery and yeah, My Space is not too it's not too big. I mean, it's 700 square feet, but it is powerful and bright and colorful. And I mean, with the lasers there said to you, no, I don't have to I don't have to change a bulb or anything. It's like supposed to last for ten years. Yeah, sure. So I feel like moving forward if I can just collect laser projector's, that's my that's my goal. Yeah. No, I get it. I've been looking at lasers this morning, I'd say for potential projects. So that's my new passion is yes. Yes. Well, let me yeah, let's keep in touch about all this stuff. Thank you so much for your time, how they spin enough. She's so nice to chat with you, talking to other video artists, you know, I know, I know. So I'd say Roswell swore that whilst we're hearing each side, who's your inspiration? Wayne Coyne of the flaming lips. No hesitation. Have you ever, have you ever seen a flaming lips show? I haven't known my gosh, Well, I'll have to send you some videos, but they didn't really, I haven't seen them do projection necessarily, but they do wild stuff with LED lights. That is just this like a psychedelic experience and it's just so fun and so electric. And every song has just like something surprising. I love the surprising element of it. I love the color and the message is just like love and connection it is, is just such a beautiful experience. And I got the pleasure of meeting Wayne last year at one of his shows. I actually made a video forum and I gave it to him. And we have this whole conversation about video art and everything. And it's just incredible human being. And I just like I was very inspired. Great place to finish on being inspired by and colleagues. Thank you so much. Have a wonderful evening. Thank you. And I'll speak to you very soon. All right. Take care. Thank you. Bye bye. 41. Final thoughts: That's it. You've come to the end of this projection mapping course for beginners with me. And I hope you've enjoyed it. I hope you've got all of it. I'm really looking forward to seeing what you create and what you do. I just wanted to say a couple things really. One, as you've probably guessed, rabbi's cost projection mapping just isn't about putting stuff on buildings and doing things on ground scales. It can be anything. So you can projection, map a short window or you can project, should map a table and create a table top installation. You could even use projection mapping within your professional practice. So if you work within the creative sector, you could use it to project onto objects or have a digital set. The possibilities really, really are endless. And I would hope you got from this course is that those possibilities and now open to you and it doesn't have to cost you a fortune teller. You can project them up on a standard tune reopened projector. Or you can use a 100 thousand Pam projector, or you can use the projection. It's in the theatre. It doesn't matter. What matters is that you understand the process. You're able to put stuff together, you're able to articulate your vision and you're able to do it, please feel free to send me your work. I'd love to say, and I'd love to connect with you on social media. If you've got any questions, please do, let me know. And I'd really appreciate if you could just drop some feedback and if you could share this course. Because I really think the more we share, the more people can benefit. Guys. Thank you so much and I really look forward to speaking to you soon. Take care.