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A Video Synthesizer is a device that electronically creates a video signal. Look up Video in Wiktionary, the free dictionary Video is the technology of capturing, recording, processing, transmitting, and reconstructing moving pictures, typically using celluloid film, electronic signals, or digital media. ...
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Image File history File links HSV_BOOL1_WARP.jpg Summary Video synthesis example #5 from old sales literature of Fluidigeo, Inc Licensing File links The following pages link to this file: Video Synthesizer ...
A video synthesizer is able to generate a variety of visual material without camera input through the use of internal video pattern generators, as seen in the stillframes of motion sequences shown above. It can also accept and "clean up and enhance" or "distort" live television camera imagery. The synthesizer creates a wide range of imagery through purely electronic manipulations. This imagery is visible within the output video signal when this signal is displayed. The output video signal can be viewed on a wide range of conventional video equipment, such as TV monitors, theater video projectors, computer displays, etc.
Video pattern generators may produce static or moving or evolving imagery. Examples include geometric patterns ( in 2D or 3D ), subtitle text characters in a particular font, or weather maps.
Imagery from TV cameras can be altered in color or geometrically scaled, tilted, wrapped around objects, and otherwise manipulated.
A particular video synthesizer will offer a subset of possible effects.
Video Synthesizers as Real Time performance instruments
The history of video synthesis is tied in to a "real time performance" ethic. The equipment is usually expected to function on input camera signals the machine has never seen before, delivering a processed signal continuously and with a minimum of delay in response to the ever changing live video inputs. Following in the tradition of performance instruments of the audio synthesis world such as the Theremin, video synthesizers were designed with the expectation they would be played in live concert theatrical situations or set up in a studio ready to process a videotape from a playback VCR in real time while recording the results on a second VCR. Venues of these performances included "Electronic Visualization Events" in Chicago, [|The Kitchen] in NYC, and museum installations. Léon Theremin playing an early theremin The theremin or thereminvox (originally pronounced but often anglicized as [1]) is one of the earliest fully electronic musical instruments. ...
Analog and early real time digital synthesizers existed before modern computer 3D modeling. Typical 3D renderers are not real time, as they concentrate on computing each frame from, for example, a recursive ray tracing algorithm, however long it takes. This distinguishes them from video synthesizers, which MUST deliver a new output frame by the time the last one has been shown, and repeat this performance continuously ( typically delivering a new frame regularly every 1/30 or 1/25 of a second ) . The real time constraint results in a difference in design philosophy between these two classes of systems.
Video synthesizers overlap with video special effects equipment used in real time network television broadcast and post-production situations. Many innovations in television broadcast equipment as well as computer graphics displays evolved from synthesizers developed in the video artists' community and these industries often support "electronic art projects" in this area to show appreciation of this history. To meet Wikipedias quality standards, this article or section may require cleanup. ...
Confluence of ideas of Electronics and Arts Many principles used in the construction of early video synthesizers reflected a healthy and dynamic interplay between electronic requirements and traditional interpretations of artistic forms. For example, Rutt & Etra and Sandin carried forward as an essential principle ideas of Robert Moog that standardized signal ranges so that any module's output could be connected to "voltage control" any other module's input. The consequence of this in a machine like the Rutt-Etra was that position, brightness, and color were completely interchangeable and could be used to modulate each other during the processing that led to the final image. Videotapes by Bill and Louise Etra, and Woody and Steina Vasulka dramatized this new class of effects. This led to various interpretations of the multi-modal synthesesia of these aspects of the image in dialogues that extended the McLuhanesque language of film criticism of the time. Dr. Robert A. Moog (pronounced /moÊŠg/ to rhyme with vogue, not /muËg/) (May 23, 1934 – August 21, 2005) was a pioneer of electronic music, best known as the inventor of the Moog synthesizer. ...
Evolution into Frame Buffers Video synthesizers moved from analog to the precision control of digital. The first digital effects as exemplified by Stephen Beck's Video Weavings used digital oscillators optionally linked to horizontal, vertical, or frame resets to generate timing ramps. These ramps could be gated to create the video image itself and were responsible for its underlying geometric texture. Schier and Vasulka advanced the state of the art from address counters to programmable (microcodable) AMD2901 bit slice based address generators. On the data path, they used 74S181 arithmetic and logic units, previously thought of as a component for doing arithmetic instructions in minicomputers, to process real time video signals, creating new signals representing the sum, difference, AND, XOR, and so on, of two input signals. These two elements, the address generator, and the video data pipeline, recur as core features of digital video architecture.
The address generator supplied read and write addresses to a real time video memory, which can be thought of as evolution into the most flexible form of gating the address bits together to produce the video. While the video frame buffer is now present in every computer's graphics card, it has not carried forward a number of features of the early video synths. The address generator counts in a fixed rectangular pattern from the upper left hand corner of the screen, across each line, to the bottom. This discarded a whole technology of modifying the image by variations in the read and write addressing sequence provided by the hardware address generators as the image passed through the memory. Today, address based distortions are more often accomplished by blitter operations moving data in the memory, rather than changes in hardware addressing patterns. A Blitter (acronym for BLock Image TransferrER) is a chip that specialises in bitmap data-transfer using bit blit methods. ...
History of Video Synthesizers, Designers, and Artists
Analog Video Synthesizers - Nam June Paik (Paik/Abe synthesizer) "Father of Video Art"
- Rutt/Etra
- Hearn Colorizer
- Sandin Image Processor
- Vasulka
- Beck Direct
- Jones Colorizer
Pre-Bell-Man, statue in front of the Museum für Kommunikation, Frankfurt am Main, Germany. ...
The Sandin Image Processor is usually introduced as the video equivalent of a Moog audio synthesizer. ...
Digital Video Synthesizers - Sandin Digital Image Colorizer
- Sandin Digital Image Processor
- Beck Video Weavings
- Image Articulator ( Vasulka, Schier, Dosch ) real time digital data ops by S181 addressing by AMD2901
- Kangaroo Giant Box
- Fluidigeo
- Fairlight DVI
- Recollections ( Ed Tannenbaum )
- Video Toaster for Amiga Computer
The NewTek Video Toaster is a combination of hardware and software for the editing and production of NTSC video on personal computers. ...
The original Amiga (1985) The Amiga is a family of home/personal computers originally developed by Amiga Corporation as an advanced game console. ...
References Books Web Image:Ted1. ...
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