kellee's blog

So much has happened since I last updated the entire department on my thesis. So this post may be a bit long. I'll try to keep it to nice word-bites to ensure that I don't lose your attention, and in hopes that if you read it, you might be interested enough to comment or chat with me about it sometime.

The Three Alphas
As expected, working on fleshing out three projects helped me to realize exactly what aspect of physical and gestural interface design I wanted to focus on. Maybe more importantly, it helped me to realize which project would give me the most leverage for my efforts. The choice was...

Digital Puppetry
1. Motion capture is the motion tracking technology I know the most about.
2. I had more contacts in the motion capture industry and performance fields than I had in the related fields of the other projects.
3. Even though it's mind-numbingly frustrating at times, I still enjoy working on it! Hopefully, this third reason will help me get over the most difficult hurdles I have up ahead.

However, from the beginning of my thesis project, I knew I wanted to explore dynamic relationships between subject and art in digital puppetry. Typically, with motion capture, there is a one-to-one realtionship between the performer and the character he/she is controlling. My right shoulder = the character's right shoulder, for instance. Or, in instances of physical personification, my right shoulder equals the chair's right back side.

The important thing here is that, generally, there is a single continuous relationship between the point being tracked in 3D space and some point on the subject's skeleton.

Dynamic Uses of Real-Time Motion Capture to Inspire Dance
What I will be exploring in my thesis is the possibility of one point having a dynamic and changing relationship with video elements. For instance, the speed of my right hand moving relates to the numbers of stars being born in the sky.

I am inspired by the relationship a traditional puppeteer has with his/her marionette. That the right pink finger controls the puppet's right foot and hand, for instance. I have yet to see a live digital puppetry performance that has justified the use of the actor's entire body. Usually the constraints of real-time output only allow for limited mobility in the character's body.

...and the dance part?
I was also inspired by my African Dance teacher at NYU, who taught us how to dance by inspiring motion, rather then demanding it. Instead of grand jete's across the floor, we were leaping across streams, trying to grab the sun.

My goal is to create an experience for one to two people that inspires them to move freely in a compelling, interactive and (if budget permits) immersive experience.

Content content content...
For my content, I am looking to the Big Bang. Two people work together to conduct the big bang (or maybe it's a SECOND big bang, so I can try and get away from the God implications). I chose the big bang because it's a story everyone is vaguely familiar with that has a beginning, middle, and end. There is also plenty of room for artistic interpretation.

Hurdles Ahead
Visual Art
3D Engine - Would allow for more flexibility in projection, with the possibility of complete 360. However, this cannot be done unless I find someone who is equally interested in this project and who has already developed content (Doox and the Bushido guys come to mind, but they might already be over-stretched as is).

Motion Builder - the program currently used for most real-time mocap output. But I know nothing about it. Is it worth learning? This week I have a meeting with the Animation Department's Kathy Smith, who teaches a section in her motion capture class on experimental animation using motion capture. Maybe she'll be of help...

Flash - I can read Vicon in MAX. MAX can talk to Flash through Flosc. But if I want to use the phasespace system, will that be an easy transition? The Vicon system we have is so old and clunky; will it be up to speed in time for my presentation? I don't know Flash, but I know it's not too difficult; however, my results will be exponentially richer if I could recruit someone(s) who already know it.

The Keio Factor
In a little over four weeks I'm due to land at Keio University, in hopes that they will let me play with their digital puppetry system. They have a real-time system up and running, they have engineers and artists who are familiar with the technology... huge leaps could be made on my own project while I'm there. At the very least, I'm sure to get more done then if I stayed in LA, and I'm glad I scheduled this thesis "winter retreat" for myself early on in the process.