Real-time video effects with a focus on aesthetic consistency.
01 / DEPTH
Crimson Haze
Volumetric crimson fog behind the performer, dynamic atmospherics.
02 / RELIGHT
Underworld Light
Selectively accentuating existing lighting and adding surreal virtual lights.
03 / DECAY
Decay Trails
Background removal isolates the performer so motion-history decays as pixel-sorted streaks.
04 / SIGNAL
Signal Decay
A failing broadcast monitor at 3am. Tape damage and chroma decay.
05 / ATMOSPHERE
Ash Fall
Drifting embers and grey fog. Swirling surreal embers and ashen particles.
LOOK 01 / DEPTH
Crimson Haze
Atmospheric dynamics rendered in real-time.
Real-time background removal isolates the performer as a foreground layer. The
removed-background area is then filled with thick crimson volumetric fog, so the performer reads
sharp in foreground while the entire backdrop dissolves behind a wall of haze. The smoke that was
already on stage gets amplified to cathedral-scale. Background details bleed through as silhouetted phantoms.
CrimsonRitualCathedralVolumetricPurgatory
Notch Signal ChainCamera In→BG Remove→Volumetric Fog Layer →Crimson Grade→Crush Blacks→IMAG Out
TREATMENT
SOURCE FRAME
LOOK 02 / RELIGHT
Underworld Light
A virtual source orbits beneath the form.
Background removal isolates the performer as a subject layer. A virtual
gradient light is then applied to that layer only, positioned below and oblique to the form,
driving a hard rim on one side while the rest of the figure falls towards shadow. The original stage
lighting is suppressed in grade, with hard specular hits on mask and wardrobe. The whole effect implies that performer is lit by something that does not exist in the room, a purgatorial uplighting.
UnderworldEmberSpecularCrushed BlackPURGATORY
Notch Signal ChainCamera In→BG Remove→Subject Layer →Gradient Relight (from below)→Suppress Ambient→IMAG Out
TREATMENT
SOURCE FRAME
LOOK 03 / DECAY
Decay Trails
The body persists. The motion-history decays.
Live background removal isolates the performer with a soft alpha matte. The
original backdrop is muted to near pure black. The matted figure is also fed into an Echo / Trail
buffer, which is then pixel-sorted by luminance, producing dense scanline streaks of crimson and
ember decaying leftward from his silhouette. The performer stays sharp in foreground. The trail is
the only color event in the frame. Destruction and rebirth visualized as data decay.
Notch Signal ChainCamera In→BG Remove→Subject Matte →Echo Buffer→Pixel Sort (Luma)→Comp Over Black→IMAG Out
TREATMENT
SOURCE FRAME
LOOK 04 / SIGNAL
Signal Decay
A failing broadcast monitor at 3am.
Pure post-process chain on the camera feed. Multi-band tape tracking jitter
slices the figure into laterally-shifted horizontal bands. RGB channel offset along every edge.
CRT scanlines drift through the frame. Halation blooms with chroma bleed around bright light
sources. Parameter control allows this grade to become the most aggressive register of the five,
ratcheted up and used sparingly for heavy analog impact moments.
Notch Signal ChainCamera In→Tape Tracking Slip→Chroma Offset →Scanline Bands→Halation→Vignette→IMAG Out
TREATMENT
SOURCE FRAME
LOOK 05 / ATMOSPHERE
Ash Fall
Standing at the locus of destruction and rebirth.
Background removal isolates the performer. A volumetric fog layer is rendered
behind the removed background, while a particle system runs in front and surrounding, drifting slow
white ash flakes and live embers blown by curl-noise wind. The matte allows particles to read both
behind and in front of the figure, flickeringly lit from within the cloud of particles. Can read
as a tumultuous moment of chaos or post-destruction, the morning after the fire.
EmbersVolumetricDriftRebirthAtmosphere
Notch Signal ChainCamera In→BG Remove→Volumetric Fog Layer →GPU Ash Particles→Curl-Noise Wind→Crimson Grade→IMAG Out