01:00:00 - 02:00:00
In the YouTube video "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man discusses his experiences with creating visual effects using various software, including Touch Designer and Synesthesia. He shares his admiration for innovative uses of feedback loops and the potential of Shaders in generating both visual and auditory effects. T-man also talks about his creative process, using GLSL to experiment with frequencies and variables to create unique textures and sounds. He expresses the importance of capturing every detail in his projects and the appeal of chaotic yet organized visuals. Throughout the video, T-man demonstrates various effects and tools, such as camera controls, audio reactive mirroring, and fractal feedback, and discusses their applications and reactions to audio. He also shares his early 3D development experiences and the creation of projects inspired by other artists.
01:00:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank", the speaker discusses the challenges of debugging shaders and the importance of implementing debugging tools. He mentions that in the world of shader work, errors can go unnoticed for long periods because the screen turns black when there's an error, and it may be difficult to identify the source of the problem. He also talks about his experience converting Shader toys to Touch Designer and the difficulties he encounters when the shaders compile successfully but don't work as intended. The speaker also mentions that he codes in Visual Studio Code and uses the color tab next to Vector 3s to help recognize patterns within his code. He then discusses his introduction to Touch Designer, the differences between line coding and visual scripting, and his experience learning Touch Designer for a project.
01:05:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank", Alex T-man shares his journey of using Touch Designer, a visual programming software. He initially wanted to learn Touch Designer to create trippy visuals but later discovered its potential for coding and system building. He compares Touch Designer to Python and collaborates with Jack Alias to create projects. Alex expresses his excitement about moving his shaders from Synesthesia to Touch Designer while still using its audio engine for dynamic results. He considers Touch Designer the best coding environment for media and visual thinkers due to its versatility and continuous innovation. Alex expresses his gratitude for discovering Touch Designer and its various applications, from UI design to media servers and generative visuals.
01:10:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," the speaker expresses his admiration for the innovative use of feedback loops in generating forces on particles in a program called Popcorn FX, which is not easily convertible into the Shader language. He then introduces Shaders and Synesthesia, a Shader development environment and compiler with a built-in audio processing engine. Synesthesia allows developers to use variables representing different parts of the frequency band from an incoming audio signal, creating a unique connection between sound design and visual output. The speaker shares his experience of discovering Synesthesia and how it has significantly enhanced his sound design and performance style, despite the challenges of managing numerous controls in his scenes. He also mentions the limitations of updating Shaders live.
01:15:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man discusses his experience with real-time coding using the software Synesthesia, which comes with a large library of shaders for those who don't know how to code. He mentions that when he's working on real-time projects, he keeps Resol in the background as a backup and cannot resist tinkering with his node graph even while playing. Synesthesia offers many scenes and effects, some of which come pre-patched, and the marketplace is filled with additional effects. T-man demonstrates some of the effects in the video, including stream diffusion, pixelation, and disruptor bars, which decide whether or not to apply big effects based on the pixel's brightness value.
01:20:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man discusses his creative process using GLSL (OpenGL Shading Language) to generate visual and auditory effects. He explains how he experiments with different frequencies and variables to create unique glitchy textures and sounds. T-man also demonstrates how he uses various tools and effects, such as loose leaf and data mash, to achieve vibrancy and blur, resulting in a mesmerizing and ghostly visual experience. Throughout the process, he emphasizes the importance of capturing every intricacy and displaying it on the screen.
01:25:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man discusses his fascination with creating shaders and the discoveries he makes after producing them. He mentions an audioactive pixelation shader and how he uses music by his friend Mirage from Lafayette, Louisiana, for inspiration. Mirage's music is a mix of various genres, and Alex has the license to use it in his projects. They then move on to discussing a 3D, melty shader called "Sphere Chaser," which Alex initially felt discouraged about creating due to feedback from another person. Despite this, he later turned it into a "beef cake" project. They also showcase a glitch Suite with stripes and another one that creates random glitches in the audio signal.
01:30:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man showcases a visually captivating 3D animation created using GLSL shaders. He describes the animation as having squares that spin and move like Brownian noise, accompanied by gyroscope-like rings and sign wave animation. The media, a new feature, is used to display faces, and the Cube's material and light source contribute to the effective reveal of the media. The animation's fast-spinning Cubes and Union function create a unique and almost normal map-like effect. The music in the background amplifies the excitement as Alex expresses his enthusiasm for the animation's results.
01:35:00 In this section of the YouTube video "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man discusses the use of Shaders in creating visual effects. He explains how the intersection of different Shaders can result in vibrant, psychedelic colors and describes the process of controlling these effects using various sliders and toggles. The audio activity of the music is also connected to these controls, creating a synchronization between the visuals and the sound. T-man mentions the use of specific Shaders such as sphere Chaser and smear Chaser, and the ability to adjust their settings to achieve different effects. Overall, the discussion revolves around the exploration of real-time and generative art using Shaders and the unique experience of controlling these effects through audio interaction.
01:40:00 In this section of the YouTube video "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," the speaker discusses various features of a visual effects system, including camera controls, audio reactive mirroring, lighting, and textures. He demonstrates how to switch between left and right mirrors, creating a ghostly effect, and explains that this is achieved by flipping between the two on beat detection. The speaker also mentions using a metallic style and texal fetch to prevent smearing and blurring in feedback. He introduces the concept of fractal feedback, which is created by sending a polar UV through a feedback loop, and shows how it can be made reactive. The speaker also mentions a kaleidoscope effect and how it looks better on beat. Throughout the discussion, the speaker expresses excitement about the various effects and their reactions to audio.
01:45:00 In this section of the YouTube video "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man expresses his appreciation for the chaotic yet organized look of his computer-generated visuals, comparing it to a pulsing soup with moments of recognizable symmetry. He discusses the appeal of melting defined lines and geometry, but acknowledges that constant melting can be cool but not as elevating as the transition from defined to unrecognizable. T-man also mentions the importance of having something for viewers to grasp onto amidst the chaos and discusses the evolution of his visuals, showing examples like "face melter."
01:50:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man discusses how he uses GLSL (OpenGL Shading Language) to texture and distort feedback systems, specifically focusing on a scene where he applies a "glitch" effect to create a curtain-like texture. He explains that this is achieved by distorting a one-ray Marsh line, which is used to render the scene, and by blasting extra instances of the line to give it a pop. T-man also mentions using a toggle called "thick boys" to reveal the media and a technique called stream diffusion for outputting colors without motion to avoid blurring the feedback. Despite his efforts to use more media, he finds that much of it contains forward zooming or motion that distorts the feedback, so he prefers using stream diffusion for its morphing output. The conversation then shifts to discussing two other scenes.
01:55:00 In this section of the YouTube video "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man shares his early 3D development experiences and the creation of various projects. He discusses discovering ray marching reflections and creating the "gloop Cavern," which led to the "mushroom Cavern" with a unique noise texture. The inspiration for this project came from another artist's work, and he experimented with different geometry styles and mixing them together. Alex also mentions the importance of controlling fog and manipulating geometry for visual effects. Throughout the conversation, they discuss the differences between moving the camera and manipulating geometry in terms of intensity and control.
02:00:00 - 03:00:00
In the YouTube video "VC | EP19 - Psybernautics/Alex T-man," Alex T-man discusses his experimentation with textures, camera distortions, and GLSL shaders to create visually captivating virtual environments. He shares his excitement about discovering subtle differences in textures, such as an underwater scene, and enhancing the effect with fog and shading techniques. Alex also explores pixelated textures and the discovery of interesting patterns. Additionally, he discusses his exploration of camera distortion effects, such as the "St B bending effect" and a "360 camera" distortion, and his ability to manipulate textures and post-processing effects using these techniques. Alex's passion for creating unique and visually stunning virtual environments is evident throughout the conversation. He also touches upon the challenges of creating and releasing Shader code art, including deciding which effects to include and gathering feedback from others.
02:00:00 In this section of the YouTube video "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man discusses his experimentation with textures in his virtual creations. He shares how he came up with a new texture that resembles an underwater scene, which his collaborators initially thought was similar to his previous ones. However, Alex was pleased with the subtle difference it made, allowing him to create a more immersive and engaging environment. He also mentions the use of fog and different shading techniques to enhance the effect. Additionally, Alex talks about his exploration of pixelated textures and the discovery of interesting patterns in the grays and blues, which he compares to a "Dumbo trip" experience. He also shares his early experiments with glitching and edge detection, and his ability to texture everything with his Medi input. Overall, Alex's passion for creating unique and visually stunning virtual environments is evident throughout the conversation.
02:05:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man discusses his popular 3D shader creations using the random lattice and slice noise world. He mentions a PBR version of one of his shaders, which includes camera morphs, and shows how to create a lattice structure by using the same idea as in the green blob code. Alex is particularly fond of a specific noise effect, which he refers to as a marble noise, and uses it for displacement on the lattice pieces. He compares it to another noise and praises its psychedelic effect. The video also highlights the camera distortions in the shader, specifically a portal distortion and a logarithmic polar distortion, which create unique visual effects without transitions to Alpha.
02:10:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man", the speaker discusses various camera distortion effects in a 3D Shader, specifically mentioning the "St B bending effect" and a "360 camera" distortion. He talks about how easy it is to implement these effects using someone else's code and then modifies them further, such as adding audio reactivity to create a "drip effect" or changing the shape of the distortion to a square tunnel. The speaker expresses excitement about the possibilities of manipulating textures and post-processing effects in media using these techniques. He also mentions an "Edge detect" effect and a "noise glitch" effect that he has created and plans to show later in the video.
02:15:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man discusses his creation of psychedelic visuals using GLSL shaders. He expresses his admiration for the morphing spherical camera and the way it reveals a spiral in the bubble, creating a psychedelic effect resembling an eye. He also mentions his love for how the visuals retain the shape and texture of what was previously seen, making the viewer feel transported to a new place. Alex then introduces another visual, called "Slice Noise World," which is a 3D noise scene with a tube that viewers can fly through, controlling the width of the tunnel to reveal different colors. He also mentions a polar style camera that focuses on individual pockets of light and colors, and a scene with media that only colors the specular portions of the light. Throughout the discussion, Alex demonstrates his passion for creating unique and visually captivating experiences using GLSL shaders.
02:20:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," the speaker showcases his impressive work in creating a fluid body scene with a metallic look using GLSL (OpenGL Shading Language). He discusses how he modified an existing code to achieve this effect and the simplicity of adding a post-process to give the metallic look. The speaker also mentions his personal version of the shader, which is available in the Sasia marketplace, and shares his experience with promoting new scenes and dealing with criticism. He then goes on to explain the interpolation technique he used in the shader.
02:25:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," the speaker discusses the use of libraries in GLSL (OpenGL Shading Language) for creating geometries. He demonstrates how to import and use the HD SDF and LIA (Book of Shaders) libraries to generate spheres and hexagons. The speaker explains that by including these libraries, one gains access to their functions without having to write the whole code. He also mentions the importance of the "map" function in ray marching and demonstrates how to use it with the imported libraries. Throughout the discussion, the speaker provides examples and clarifies concepts for the audience.
02:30:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man discusses the importance of functions and variables in GLSL shader programming. He explains how he saves calculations in variables to avoid retyping long lines of code and uses the "mix" function to blend different shapes. The mix function takes two inputs, a hexagon and a box, and a floating-point value that acts as a slider to determine the percentage of each shape to display. Alex also mentions that most audio parameters in the Sthesia software, which he uses, fluctuate between zero and one, making it suitable for mixing these values using the mix function.
02:35:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," the speakers discuss the process of changing the shape of an object in real-time using GLSL code. They explain how to switch between a bounding box and a hexagon based on a variable, and how to smooth out the transition using the audio panel. The speakers also mention the possibility of using a slider to control different functions, such as edge detection, and discuss the potential for using GLSL to render lines instead of using edge detection. They also share their excitement about the limitless possibilities of GLSL and the importance of being "nerdy enough" to code it.
02:40:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," the speaker discusses the differences between using custom parameters and node-based systems in Touch Designer. He explains that while setting up controls in Touch Designer requires planning beforehand, node-based systems allow for more flexibility and real-time adjustments. The speaker shares his personal experience with Notch, a visual effects software, and how he enjoyed the freedom to make changes on the fly during long performances, despite its bugs. He also mentions the concept of user error and how he had previously dismissed software issues by blaming the software rather than admitting his own lack of knowledge.
02:45:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man discusses the use of glitch effects and quantization in creating feedback loops in 3D software, specifically in the context of a Shader called the "sphere Chaser." He explains that without quantization, the feedback can become chaotic and hard to control, but when using a floor function to cut off values, it produces a desirable popping effect. This effect is achieved by using the onbeat function, which flashes between zero and one, but wrapping it in a floor function results in only whole numbers being displayed, creating the popping effect. Without this cut-off, the values slide smoothly, but can become overwhelming and nauseating.
02:50:00 In this section of the YouTube video "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man discusses his project, which started as an audio spectrometer but evolved into a media manipulation tool with various pixelation effects. He mentions the glassy, bathroom-like feel of one of the effects and the abundance of controls, which he likens to an effect suite. T-man demonstrates some features, such as triangle pixels, changing pixel size based on audio intensity, and different feedback effects. He also discusses edge detection, image shifting, and texture instancing, which allows for fly-through effects, and picture-in-picture, enabling viewers to see the original media while the effects are applied.
02:55:00 In this section of the YouTube video "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man discusses the challenges of creating and releasing Shader code art. He mentions the difficulty of deciding which effects to include and how they stack together, as well as the importance of beta testing and gathering feedback from others to determine what people like. T-man also acknowledges the struggle with perfectionism and knowing when a piece is finished, emphasizing the value of having others look at it and providing perspective.
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01:00:00 - 02:00:00
In the YouTube video "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man discusses his experiences with creating visual effects using various software, including Touch Designer and Synesthesia. He shares his admiration for innovative uses of feedback loops and the potential of Shaders in generating both visual and auditory effects. T-man also talks about his creative process, using GLSL to experiment with frequencies and variables to create unique textures and sounds. He expresses the importance of capturing every detail in his projects and the appeal of chaotic yet organized visuals. Throughout the video, T-man demonstrates various effects and tools, such as camera controls, audio reactive mirroring, and fractal feedback, and discusses their applications and reactions to audio. He also shares his early 3D development experiences and the creation of projects inspired by other artists.
01:00:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank", the speaker discusses the challenges of debugging shaders and the importance of implementing debugging tools. He mentions that in the world of shader work, errors can go unnoticed for long periods because the screen turns black when there's an error, and it may be difficult to identify the source of the problem. He also talks about his experience converting Shader toys to Touch Designer and the difficulties he encounters when the shaders compile successfully but don't work as intended. The speaker also mentions that he codes in Visual Studio Code and uses the color tab next to Vector 3s to help recognize patterns within his code. He then discusses his introduction to Touch Designer, the differences between line coding and visual scripting, and his experience learning Touch Designer for a project.
01:05:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank", Alex T-man shares his journey of using Touch Designer, a visual programming software. He initially wanted to learn Touch Designer to create trippy visuals but later discovered its potential for coding and system building. He compares Touch Designer to Python and collaborates with Jack Alias to create projects. Alex expresses his excitement about moving his shaders from Synesthesia to Touch Designer while still using its audio engine for dynamic results. He considers Touch Designer the best coding environment for media and visual thinkers due to its versatility and continuous innovation. Alex expresses his gratitude for discovering Touch Designer and its various applications, from UI design to media servers and generative visuals.
01:10:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," the speaker expresses his admiration for the innovative use of feedback loops in generating forces on particles in a program called Popcorn FX, which is not easily convertible into the Shader language. He then introduces Shaders and Synesthesia, a Shader development environment and compiler with a built-in audio processing engine. Synesthesia allows developers to use variables representing different parts of the frequency band from an incoming audio signal, creating a unique connection between sound design and visual output. The speaker shares his experience of discovering Synesthesia and how it has significantly enhanced his sound design and performance style, despite the challenges of managing numerous controls in his scenes. He also mentions the limitations of updating Shaders live.
01:15:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man discusses his experience with real-time coding using the software Synesthesia, which comes with a large library of shaders for those who don't know how to code. He mentions that when he's working on real-time projects, he keeps Resol in the background as a backup and cannot resist tinkering with his node graph even while playing. Synesthesia offers many scenes and effects, some of which come pre-patched, and the marketplace is filled with additional effects. T-man demonstrates some of the effects in the video, including stream diffusion, pixelation, and disruptor bars, which decide whether or not to apply big effects based on the pixel's brightness value.
01:20:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man discusses his creative process using GLSL (OpenGL Shading Language) to generate visual and auditory effects. He explains how he experiments with different frequencies and variables to create unique glitchy textures and sounds. T-man also demonstrates how he uses various tools and effects, such as loose leaf and data mash, to achieve vibrancy and blur, resulting in a mesmerizing and ghostly visual experience. Throughout the process, he emphasizes the importance of capturing every intricacy and displaying it on the screen.
01:25:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man discusses his fascination with creating shaders and the discoveries he makes after producing them. He mentions an audioactive pixelation shader and how he uses music by his friend Mirage from Lafayette, Louisiana, for inspiration. Mirage's music is a mix of various genres, and Alex has the license to use it in his projects. They then move on to discussing a 3D, melty shader called "Sphere Chaser," which Alex initially felt discouraged about creating due to feedback from another person. Despite this, he later turned it into a "beef cake" project. They also showcase a glitch Suite with stripes and another one that creates random glitches in the audio signal.
01:30:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man showcases a visually captivating 3D animation created using GLSL shaders. He describes the animation as having squares that spin and move like Brownian noise, accompanied by gyroscope-like rings and sign wave animation. The media, a new feature, is used to display faces, and the Cube's material and light source contribute to the effective reveal of the media. The animation's fast-spinning Cubes and Union function create a unique and almost normal map-like effect. The music in the background amplifies the excitement as Alex expresses his enthusiasm for the animation's results.
01:35:00 In this section of the YouTube video "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man discusses the use of Shaders in creating visual effects. He explains how the intersection of different Shaders can result in vibrant, psychedelic colors and describes the process of controlling these effects using various sliders and toggles. The audio activity of the music is also connected to these controls, creating a synchronization between the visuals and the sound. T-man mentions the use of specific Shaders such as sphere Chaser and smear Chaser, and the ability to adjust their settings to achieve different effects. Overall, the discussion revolves around the exploration of real-time and generative art using Shaders and the unique experience of controlling these effects through audio interaction.
01:40:00 In this section of the YouTube video "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," the speaker discusses various features of a visual effects system, including camera controls, audio reactive mirroring, lighting, and textures. He demonstrates how to switch between left and right mirrors, creating a ghostly effect, and explains that this is achieved by flipping between the two on beat detection. The speaker also mentions using a metallic style and texal fetch to prevent smearing and blurring in feedback. He introduces the concept of fractal feedback, which is created by sending a polar UV through a feedback loop, and shows how it can be made reactive. The speaker also mentions a kaleidoscope effect and how it looks better on beat. Throughout the discussion, the speaker expresses excitement about the various effects and their reactions to audio.
01:45:00 In this section of the YouTube video "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man expresses his appreciation for the chaotic yet organized look of his computer-generated visuals, comparing it to a pulsing soup with moments of recognizable symmetry. He discusses the appeal of melting defined lines and geometry, but acknowledges that constant melting can be cool but not as elevating as the transition from defined to unrecognizable. T-man also mentions the importance of having something for viewers to grasp onto amidst the chaos and discusses the evolution of his visuals, showing examples like "face melter."
01:50:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man discusses how he uses GLSL (OpenGL Shading Language) to texture and distort feedback systems, specifically focusing on a scene where he applies a "glitch" effect to create a curtain-like texture. He explains that this is achieved by distorting a one-ray Marsh line, which is used to render the scene, and by blasting extra instances of the line to give it a pop. T-man also mentions using a toggle called "thick boys" to reveal the media and a technique called stream diffusion for outputting colors without motion to avoid blurring the feedback. Despite his efforts to use more media, he finds that much of it contains forward zooming or motion that distorts the feedback, so he prefers using stream diffusion for its morphing output. The conversation then shifts to discussing two other scenes.
01:55:00 In this section of the YouTube video "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man shares his early 3D development experiences and the creation of various projects. He discusses discovering ray marching reflections and creating the "gloop Cavern," which led to the "mushroom Cavern" with a unique noise texture. The inspiration for this project came from another artist's work, and he experimented with different geometry styles and mixing them together. Alex also mentions the importance of controlling fog and manipulating geometry for visual effects. Throughout the conversation, they discuss the differences between moving the camera and manipulating geometry in terms of intensity and control.
02:00:00 - 03:00:00
In the YouTube video "VC | EP19 - Psybernautics/Alex T-man," Alex T-man discusses his experimentation with textures, camera distortions, and GLSL shaders to create visually captivating virtual environments. He shares his excitement about discovering subtle differences in textures, such as an underwater scene, and enhancing the effect with fog and shading techniques. Alex also explores pixelated textures and the discovery of interesting patterns. Additionally, he discusses his exploration of camera distortion effects, such as the "St B bending effect" and a "360 camera" distortion, and his ability to manipulate textures and post-processing effects using these techniques. Alex's passion for creating unique and visually stunning virtual environments is evident throughout the conversation. He also touches upon the challenges of creating and releasing Shader code art, including deciding which effects to include and gathering feedback from others.
02:00:00 In this section of the YouTube video "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man discusses his experimentation with textures in his virtual creations. He shares how he came up with a new texture that resembles an underwater scene, which his collaborators initially thought was similar to his previous ones. However, Alex was pleased with the subtle difference it made, allowing him to create a more immersive and engaging environment. He also mentions the use of fog and different shading techniques to enhance the effect. Additionally, Alex talks about his exploration of pixelated textures and the discovery of interesting patterns in the grays and blues, which he compares to a "Dumbo trip" experience. He also shares his early experiments with glitching and edge detection, and his ability to texture everything with his Medi input. Overall, Alex's passion for creating unique and visually stunning virtual environments is evident throughout the conversation.
02:05:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man discusses his popular 3D shader creations using the random lattice and slice noise world. He mentions a PBR version of one of his shaders, which includes camera morphs, and shows how to create a lattice structure by using the same idea as in the green blob code. Alex is particularly fond of a specific noise effect, which he refers to as a marble noise, and uses it for displacement on the lattice pieces. He compares it to another noise and praises its psychedelic effect. The video also highlights the camera distortions in the shader, specifically a portal distortion and a logarithmic polar distortion, which create unique visual effects without transitions to Alpha.
02:10:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man", the speaker discusses various camera distortion effects in a 3D Shader, specifically mentioning the "St B bending effect" and a "360 camera" distortion. He talks about how easy it is to implement these effects using someone else's code and then modifies them further, such as adding audio reactivity to create a "drip effect" or changing the shape of the distortion to a square tunnel. The speaker expresses excitement about the possibilities of manipulating textures and post-processing effects in media using these techniques. He also mentions an "Edge detect" effect and a "noise glitch" effect that he has created and plans to show later in the video.
02:15:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man discusses his creation of psychedelic visuals using GLSL shaders. He expresses his admiration for the morphing spherical camera and the way it reveals a spiral in the bubble, creating a psychedelic effect resembling an eye. He also mentions his love for how the visuals retain the shape and texture of what was previously seen, making the viewer feel transported to a new place. Alex then introduces another visual, called "Slice Noise World," which is a 3D noise scene with a tube that viewers can fly through, controlling the width of the tunnel to reveal different colors. He also mentions a polar style camera that focuses on individual pockets of light and colors, and a scene with media that only colors the specular portions of the light. Throughout the discussion, Alex demonstrates his passion for creating unique and visually captivating experiences using GLSL shaders.
02:20:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," the speaker showcases his impressive work in creating a fluid body scene with a metallic look using GLSL (OpenGL Shading Language). He discusses how he modified an existing code to achieve this effect and the simplicity of adding a post-process to give the metallic look. The speaker also mentions his personal version of the shader, which is available in the Sasia marketplace, and shares his experience with promoting new scenes and dealing with criticism. He then goes on to explain the interpolation technique he used in the shader.
02:25:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," the speaker discusses the use of libraries in GLSL (OpenGL Shading Language) for creating geometries. He demonstrates how to import and use the HD SDF and LIA (Book of Shaders) libraries to generate spheres and hexagons. The speaker explains that by including these libraries, one gains access to their functions without having to write the whole code. He also mentions the importance of the "map" function in ray marching and demonstrates how to use it with the imported libraries. Throughout the discussion, the speaker provides examples and clarifies concepts for the audience.
02:30:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man discusses the importance of functions and variables in GLSL shader programming. He explains how he saves calculations in variables to avoid retyping long lines of code and uses the "mix" function to blend different shapes. The mix function takes two inputs, a hexagon and a box, and a floating-point value that acts as a slider to determine the percentage of each shape to display. Alex also mentions that most audio parameters in the Sthesia software, which he uses, fluctuate between zero and one, making it suitable for mixing these values using the mix function.
02:35:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," the speakers discuss the process of changing the shape of an object in real-time using GLSL code. They explain how to switch between a bounding box and a hexagon based on a variable, and how to smooth out the transition using the audio panel. The speakers also mention the possibility of using a slider to control different functions, such as edge detection, and discuss the potential for using GLSL to render lines instead of using edge detection. They also share their excitement about the limitless possibilities of GLSL and the importance of being "nerdy enough" to code it.
02:40:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," the speaker discusses the differences between using custom parameters and node-based systems in Touch Designer. He explains that while setting up controls in Touch Designer requires planning beforehand, node-based systems allow for more flexibility and real-time adjustments. The speaker shares his personal experience with Notch, a visual effects software, and how he enjoyed the freedom to make changes on the fly during long performances, despite its bugs. He also mentions the concept of user error and how he had previously dismissed software issues by blaming the software rather than admitting his own lack of knowledge.
02:45:00 In this section of the YouTube video titled "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man discusses the use of glitch effects and quantization in creating feedback loops in 3D software, specifically in the context of a Shader called the "sphere Chaser." He explains that without quantization, the feedback can become chaotic and hard to control, but when using a floor function to cut off values, it produces a desirable popping effect. This effect is achieved by using the onbeat function, which flashes between zero and one, but wrapping it in a floor function results in only whole numbers being displayed, creating the popping effect. Without this cut-off, the values slide smoothly, but can become overwhelming and nauseating.
02:50:00 In this section of the YouTube video "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man discusses his project, which started as an audio spectrometer but evolved into a media manipulation tool with various pixelation effects. He mentions the glassy, bathroom-like feel of one of the effects and the abundance of controls, which he likens to an effect suite. T-man demonstrates some features, such as triangle pixels, changing pixel size based on audio intensity, and different feedback effects. He also discusses edge detection, image shifting, and texture instancing, which allows for fly-through effects, and picture-in-picture, enabling viewers to see the original media while the effects are applied.
02:55:00 In this section of the YouTube video "VC | EP19 - Psybernautics/Alex T-man - GLSL my timbers, Walking the real-time & Generative Plank," Alex T-man discusses the challenges of creating and releasing Shader code art. He mentions the difficulty of deciding which effects to include and how they stack together, as well as the importance of beta testing and gathering feedback from others to determine what people like. T-man also acknowledges the struggle with perfectionism and knowing when a piece is finished, emphasizing the value of having others look at it and providing perspective.