Basic EYEEYE Mobile Mapper Tutorial - Part 2

0:00settings exactly how I want them for the material and I'm like, I want those same settings for two other. Surfaces so you could go back to your surfaces. And you can click this or tap this. This copy button here. So now I've duplicated. I've got ellipse #2 and I can just move this thing around wherever I want. And I've got a third one that I know about South. I'm going to move that there now I've got easily. You know 3 circular surfaces on my projection surface. With matching materials, I've got an organic shape that I drew in for this tree and then a full backdrop that might flow through everything that's not these foreground shapes. That's how I kind of tend to look at it as like you have your objects that you project onto and those kind of get the customized shapes. Then you have your backdrop, which is everything that is layered below those, and then you might have a foreground as well. So let's look at what it might take

1:01to make a foreground for this. That had some cool effects so I can go to. The first rectangle layer, because I know that that's full size and I could clone that. One way to do it right. So now I have an exact copy of that, but I want this to be on top so you can drag the order of these so that you now have in your layer. In your surface layer ordering you have rectangle 2 on top. Your ordering will always be represented here with the top surface being the highest in the stacking order. OK, so now we can't see any of our objects underneath because we layered over it. So now we need to make some choices about what we want this to do. I am going to use a special effect and there's a really cool one. Again, I'll hot link under to materials and I'll go to special. Special effects are things that tend to affect the layers below. In a more dynamic way. Versus just bringing in their own visuals. They have mixing.

2:09Let's say so. What I want to do is I want to use this Liquify special effect, so I tap that. Awesome. Now I've got all this movement that's happening on all of the all of the surfaces, right? But let's say that perhaps that's a little too extreme. Let's reduce the power of it so it's not quite so crazy and it's very subtle. So now what you would end up with is an effect that still closely aligns with the shapes that we mapped onto, but maybe overflows outside of those shapes a little bit with the Liquify effect. For this. Demonstration. Let's assume that's what we want. We need to save our work. We've kind of gone a long ways without saving. So if you tap save a new project, it gives it the project name Untitled, and then you tap Save to save again.

3:08I'm just going to save it as Untitled. 9 For the sake of the demo, you go to save, Boom, it's done. It's now in your saved projects list here. You can reload it later if you want. I recommend doing this frequently. And you can turn on auto saving if you want. Auto saving here is off by default. I don't like having it on personally because sometimes I load a saved project that I really like how it is exactly and it might tweak some things in a live performance and then the autosave is going to pick up on those and the next time I load it. I'm going to have a modified version that doesn't work for my personal workflow, but it might work for yours. I just try to remember a tap save up here whenever I make a change that I want to keep and super fast. The system keeps an undo state so it's easy to undo a change that you don't like. So let's say I really don't like this Liquify effect. Let's undo it to the point where

4:10now we once again have the surface over the top and it's just a copy of the background surface. Let's take this and try some things. We're going to change the blending mode. Blending modes here work like they do in Photoshop. They affect the way that they overlay the content below. So play around with these and get used to which what each of these mean. They're going to have different outcomes depending on what your layers are. But for this demonstration, I'm going to do add, notice how much more vibrant those lines are. It's pretty cool. Let's say. I want to take things a little bit further and.

4:59But let's say I want to take things in kind of a symmetrical direction. For the backdrop, I can go to flip X. On this and now Ihave the 2. Background layers working in opposite directions which creates this. Really cool. Sort of symmetry, which is a really fun effect and and commonly used in VJ projects, so something I use all the time. Umm, now let's uh, now let's **** with the fun button. This thing came about because I believe every app is lacking in. A button that just does fun stuff. You know, like. I think we've all kind of wanted that in projection mapping software and it doesn't really exist.

5:49You know, you kind of have to tediously build everything you do and to sync effects to manual. Presses and stuff is hard to do, but I built the fun button right into it so that it has some built-in effects. Every time I press this, it's going to glitch, crystallize, Liquify, and add in some kind of shimmering sparkles to it. Pretty fun. But that's not it. You can actually tap and hold on it, and then that brings up this control. So when I slide it up. That's the maximum of the effect and so I can kind of control this. With the beat of the music manually, which I don't care what kind of audio analyzer you have or you think you have with your VJ software, nothing works as well as controlling it with. Manual movements.

6:45It's you got to learn to play your lights like an instrument. Learn to keep time, which I'm terrible at by default, so anybody can do it if I can do it. If you tilt left, it slows it down. So notice how like time is kind of freezing here. If I tilt right, then I then it goes faster. So you can get some really kind of fun glitching effects that are easy to access just right there from the fun button. You can edit what the fun button does. So if I go to my controls, which is where all macro controls will live, I've got the pulse feature here. The pulse is the fun button. Umm, the effect is on max, so I could turn it down and you'll notice the effect is is much more subdued even at Max, so that might be like more suitable for a subtle effect. It's totally up to you. If you tap or pen the editing button there.

7:48You can then go into all the controls of the pulse pulses like. The the fun buttons built-in effect. So like I said, it's got Liquify glitch, crystallized glitter flares. You can contain within surfaces or overflow the effect, it's up to you. You can add additional bindings to it. Play with these effects and see what works best for you. You know you may hate the the crystallize effect entirely, in which case now I'm just kind of more glitchy, right? So it's totally up to you. Varies per project. What you want to do? There's something to be considered with controls in general or macros who can. Create a new macro and tie any effect, any material control to a macro. There's two ways to do that. One is to go to controls, go to macro, add macro. Tap the pen. You can rename it if you want. You can pick what drives it.

8:54These are pretty much mostly audio based analysis tools. So I could add a binding. Let's say I want to control rectangle 2. That's our. That's our. That's the top layer of the foreground surface. I'm going to control its.

9:12Alpha channel mostly with controls and VJ work you want to control alpha channels. Controlling effects directly with audio analyzers is always going to create some degree of lag or performance pressure on your machine. The more effects and the more complication you add to your project, the more likely you are to lower the FPS and increase the temperature of the device. So that's why I have these front and center, so that you can monitor them as you build. You don't find out. After you've been working for a while that you have an unstable. Render. You can actually see it adjust in real time. So here I'm going to say let's increase the. The control of this, so this is now tied to this is now a control tied to alpha transparency.

10:10So full alpha, no alpha, full alpha, no alpha, full alpha, no alpha. Let's tie it to bass and see if my voice can just activate it. Boom. OK, so now when I talk. You can see the effects right? Pretty reactive to audio. You can control the audio effects for this. There's there's a lot that you can do with that. That's all under the audio panel. So here you can see as I talk, I've got bass mid high noise. This is all analyzing through my phone's microphone as I speak. You know, so this would typically be tied to music, right? Your gain is just how much to ramp up the effect. It's like gain on a guitar amp. So if I crank this, notice how easy it is for all of these bars to bounce even if I talk lower. But if I put it all the way down, it's pretty hard to get any reaction at all out of it. So you'll fine tune that for your projection mapping project based on the scene sound check.

11:22Account for always account like I said that 80/20 rule always account for the fact that it's going to be louder on show night. You've got you know this full. Crowd, that's going to impact it. So if you're running straight off of a microphone. It's going to, it's going to be impacted by that. You know, there's, there's a lot of different ways and a future version of this, I'll have a line out for the, for the audio, not just microphone, which is more suitable for a true performance environment for DJing so that you can connect it directly to the mixer or however the audio people want to connect in.