WEBVTT 00:00.000 --> 00:05.000 [Automatic captions by Autotekst using OpenAI Whisper V3. May contain recognition errors.] 00:08.076 --> 00:16.243 The workshop that I'm organizing today and the materials that I have provided, also kind of like a parting gift to the C2HO community, please 00:16.323 --> 00:22.368 feel free to use it. They have been developed together with other members of the Ouroboros Collective, which is an art and design 00:22.408 --> 00:33.197 collective that also runs a festival. We run a festival every year in Prague with topics that cover arts, technology, design, ecology, very 00:33.257 --> 00:41.008 much research-driven and in a very participatory sense, so creating occasions for people from different disciplines to meet and see what 00:41.088 --> 00:53.221 comes out of it. Now, also the files could not have been designed and developed without the support of, of course, Ajo, but also the people 00:53.281 --> 01:02.105 involved in the course Design for Digital Products, in which I taught a little module that was called Latent Interfaces, where we already use 01:02.125 --> 01:11.491 TouchDesigner in many creative ways. And the students that you see here, They are over here. So of course, I need to start creating them too. 01:12.031 --> 01:20.020 And then also other collaborators, Oliver Frimo-Amundsen and Lenka Hamosubat. So that for the credit where the credit is due. Welcome to 01:20.060 --> 01:20.861 TouchDesigner. 01:23.701 --> 01:32.449 Welcome, you just made it. You cross the portal, and now this thing opens up. From an interaction design perspective, if some of you have 01:32.610 --> 01:40.477 practiced with it, you will see that it already gives you a lot of clues in terms of how it's gonna work. You have a timeline in the bottom. So all the 01:40.557 --> 01:47.003 final cut and stuff, programs like that that are very time dependent. You see some of the affordances here. 01:50.203 --> 01:53.544 And then it has mega column here on the left, 01:56.686 --> 02:10.973 some panel here on the right, and then a mesh over here. Yeah? Good. So timeline to control time stuff. If you stop it, you see the timer stops. 02:11.494 --> 02:21.648 And also a bunch of other things that should be moving around are not moving anymore. Yeah? So click, and we see this green thing, whatever 02:21.688 --> 02:33.564 that is, shaking, shaking, shaking. This we have. The moment you stop it, then it doesn't move, right? So when we say TouchDesigner is a 02:33.984 --> 02:41.709 node-based visual coding language, it's because we are going to be basically connecting nodes that we drop here in this Miro 02:41.729 --> 02:52.696 board-looking place. It doesn't work that different from Miro, in fact. But let's not go there today. Then... What other things can we see? 02:53.136 --> 03:01.380 Every time we click on one of the different nodes that are not really called nodes, they are called operators. If you want to use the vocabs of 03:01.420 --> 03:12.546 TouchDesigner, but we can call them whatever. If you click them, you see that this panel on the right changes. Because this panel on the right is 03:12.566 --> 03:24.363 the properties. that each one of those operators has. So TouchDesigner is a game of throwing operators, connecting operators, and then acting 03:24.604 --> 03:33.967 on each one of these of these parameters. Because that's what TouchDesigner has that for other programs is not that easy, is that yes, 03:34.027 --> 03:40.670 you can control the modules or the nodes where you store information or manipulate information. But the interesting thing is that you can 03:40.730 --> 03:49.092 really control each of the individual parameters with any other individual parameter through a drag and drop approach that I'm going to 03:49.132 --> 03:57.376 show you in a second. That's, I think, what differentiates TouchDesigner in terms of flexibility. So anyways. Here we have 03:57.416 --> 04:10.164 something called palette that, ah, well, before we go, let's go full on UI. Up here, wiki forum tutorials. Yeah, super good, actually, that 04:10.184 --> 04:20.528 they have them there. And it already gives you a clue. And then we have here the frames per second and real time. This is what, for those of you 04:20.548 --> 04:27.612 that are not super technical with the stuff, the frames per second is what is going to tell you if you are overdoing it with your program. 04:28.292 --> 04:35.216 Either if you have too many operators, or the operators are using too much compute power, frames per seconds go down. The moment you notice, 04:35.236 --> 04:45.291 you go back and you say, OK, what did I do that this is going so slow? And then here you have the cooking on and off. That's like a hard stop. You can 04:45.371 --> 04:59.667 pause the sketch, or you can pause the mesh from running, but then you can also just completely turn it off in here. Yeah? Good, good, good. Then 04:59.767 --> 05:06.613 something that sends some signals. And then something about layouts. We are not going to be going into layouts because we are going to stay with 05:06.653 --> 05:22.541 this one today. And then a path to the project. And this is quite interesting because Here, the way I usually explain it is, and this is 05:22.601 --> 05:33.309 also interesting, what we are seeing here is a layer of the network in TouchDesigner, right? But that doesn't mean that you cannot have 05:33.409 --> 05:48.665 multiple layers on top or before each other. So if you now go back, you zoom out, you reach this point, yeah? And now I cannot go out anymore. And 05:48.705 --> 05:59.013 then I go into this one, and I have this network with the different operators. So just so you get a very quick idea that in touch designer, 05:59.033 --> 06:11.461 you can also move in the vertical, in the set. If this is xy, well, there is also a set dimension that you can navigate. Now, with this, we have 06:11.502 --> 06:21.078 concluded the explanation of the interface. We are going to close the palette because we don't need it for now. And the way you close it is with 06:21.118 --> 06:32.744 this little zip. So now we have more space. Yeah? Now is when we go into which operators do we have in TouchDesigner. Because it's all super 06:32.784 --> 06:41.143 simple. OK, we have this mesh. I throw operators. I connect them. Well, it can get super complicated because when you click twice, Here we have 06:41.883 --> 06:56.647 the op create dialogue, which is the operator create dialogue. Right? And here we have different colors. We have top, chop, sop, mat, dat, and 06:56.687 --> 07:12.009 then custom to make your own. Right? Each one by its own color. Yeah? And then at the very beginning, we have the comps. Yeah? Now. Today, we are 07:12.029 --> 07:21.313 going to be working with these three, the comp, the top, and the chop. Okay? The way... Well, also, TouchDesigner is interesting because of 07:21.353 --> 07:31.518 the incredible cocktail of metaphors they use to describe what is going on. So let's try to make it a little bit simple. Today, we are going to be 07:31.558 --> 07:43.495 working with tops that mean texture operators, So whenever you need pixels, you do this. And we're also going to be working with chops, which 07:43.575 --> 07:52.483 is channel operators, so signals. One, the channel operators is usually what we're going to have for audio. The texture operators is 07:52.523 --> 08:04.265 what we're going to use for image. Yeah? And then surface operators is 3D. Materials is to put materials like textures and stuff. Well, not 08:04.285 --> 08:14.212 textures, but yeah, 3D experts out there, you know what I mean. With surface operators, you have the scaffolding or the grid or the web 08:14.573 --> 08:20.500 thingy, and then you put the material that is more shiny or less shiny. Yeah, we are not gonna be doing that. And then you have the data 08:20.540 --> 08:27.825 operators, which is for data. And that's the other interesting thing about TouchDesigner is that with that, then you have full Python and you 08:27.845 --> 08:36.755 can do whatever you want. So whatever you cannot do already in TouchDesigner, if you know Python or ChatGPT is very good friends with 08:36.795 --> 08:47.261 you, you can actually manage to do really complicated stuff too. And then we have the comps so also remember the color the color coding is is 08:47.301 --> 08:56.688 the is the thing here like it already tells you but then this is how you get out of it is with these comps and the comps are great and the comps are 08:58.209 --> 09:10.993 Containers of a bunch of operators Okay, so an example and they are gray. So basically you follow colors. This one is purple, this one is purple, 09:11.033 --> 09:23.439 so we know we are talking about textures. Then this one is noise, so we know it's producing some noise. And then here we have one that is gray, 09:24.339 --> 09:38.228 but has purple inputs and outputs. The moment they are gray means you can get into them. and they have other operators inside. Now, more 09:38.288 --> 09:51.432 conventions. Each one of the operators have... You can interact with them in two ways. One more level of complication. So, as you can see now, 09:51.732 --> 10:04.816 if I click this operator, the gray operator, the comp, I can manipulate it. I can click or activate or deactivate these flags. There is also 10:04.856 --> 10:12.121 flags here, but then we have this flag that is very important that is called viewer active. If you click that flag, then you can modify the 10:12.201 --> 10:23.408 content inside of the operator. So, without clicked, modify the operator. When you click the viewer active, modify the content. Just so 10:23.428 --> 10:31.816 you remember, when you're trying to connect things, because when you have this one active and you try to move it around, you can't. So if you 10:31.856 --> 10:42.405 realize you're trying to move an operator to connect it to something else and it doesn't work, it's because the flag is active. Good. And the 10:42.445 --> 11:01.471 same one. The same thing happens here. Okay. Now, let's do something super simple. And it's to analyze a little bit what is going on. So, we 11:01.511 --> 11:15.315 have one operator that is called movie filing. And that operator... So, if you... If you take a... Video or an image and you drop it in touch 11:15.355 --> 11:31.326 designer For example the screenshot that I just took of the stuff it will appear as an operator that is called movie file in Yeah Right, that's how 11:31.606 --> 11:44.681 these files were created so you can also drag and drop directly files for example also What you can do? is let me find ah here you are so i have 11:44.721 --> 12:03.201 another one that is called pizza vibe i have where are the files from the yeah So and then on the files that you have today you have one Folder there 12:03.361 --> 12:12.529 that is called the grand packs and that is the house music that my father at his 65 years old decided to start making which I will be using today for 12:12.589 --> 12:27.770 illustrative purposes after he gave me consent so for example you take a one file. Let's take Exaltation, the first hit of his album Jump. So, as 12:27.790 --> 12:39.757 you can see, we drop You can also drop the files and they already, in terms of media, so photos, videos, et cetera, et cetera, you can drop them in 12:39.797 --> 12:48.981 there directly. But that doesn't mean that they work straight away. We're going to be working with images and sound mostly. So in this case, 12:49.581 --> 13:03.817 you have your own image and the way you connect one node to another node is you just drag and connect. Yeah? 13:08.822 --> 13:20.503 Now Now, the whole structure of connections, there is links, there is references, there is the cables. We are not going to go straight through 13:20.523 --> 13:33.750 that because we're going to be playing with this directly. But in a very basic level, if you click on this one, if you click on the output of one and 13:33.790 --> 13:40.682 connect it to the input of another, you drag and connect. To disconnect, you click once and 13:43.805 --> 13:53.154 then click again, and then it disconnects. Or you just connect something else. But if you see what is happening here, it's very much a 13:53.654 --> 14:05.528 left-to-right flow of information. On the left, I have a file. This file And if you even look closely to the cables, you can see that some of the 14:05.568 --> 14:14.735 cables are vibrating while some of the cables remain steady. That means that there is a constant transfer of info in between one and the other. So 14:15.756 --> 14:26.765 I have an operator that is called Displace. And the operator Displace, if you hover on top of the input, it tells you input 0, source image. Input 14:27.365 --> 14:28.226 1, Displace image. 14:31.329 --> 14:43.929 Yeah? So the way this is working is this image goes in here. And then in this other input, I have another operator that is displacing the image. 14:45.969 --> 14:54.993 Now, reverse engineering here again. I click the image. I look at the properties. And it says, I'm a movie file in. I'm called this. And then it 14:55.033 --> 14:56.814 gives you all these parameters. 14:59.415 --> 15:09.337 Usually, many of these parameters are kind of self-explanatory. If you know that it's a file image, then you know, oh, well, the movie filing 15:09.597 --> 15:15.480 also works with video, so it tells you, am I playing, am I not playing, what is the speed, da, da, da. 15:18.582 --> 15:31.103 Other qualities about, yeah. Then. In the displays, for example, you also have all the different parameters. 15:36.846 --> 15:46.512 And then in this one, we are doing something different, which is we are bridging from one texture operator, we are getting one texture 15:46.552 --> 15:53.877 operator to be operated by a noise operator. Yeah? So we are going from channel to texture. 15:56.919 --> 16:08.487 And the way it works is you are specifying here which is the chop that is influencing this texture. 16:10.689 --> 16:16.573 If I take the name of this operator and instead I put it here, 16:21.537 --> 16:23.478 then I have it reacting to music. 16:27.352 --> 16:36.514 Yeah? Because at the end, what we're going to be seeing today is that TouchDesigner separates the kind of flows of the information that it's 16:36.534 --> 16:45.916 dealing with, right? So we have, on one side, all the pixel information. On another side, all the channel or signal information. So if we have one 16:45.976 --> 16:49.837 operator that transfers signal to pixels, 16:52.837 --> 17:00.918 then it doesn't matter which signal you are using. Okay, very quickly about the 17:02.919 --> 17:17.349 audio processing here in TouchDesigner is that here now we go to the channel operators and we have, if you click on the mp3 file that I dropped 17:17.409 --> 17:31.393 here, you can see that it's called audio file in. Right? And it has one output. That means if you want to play it, you need to add another one that 17:31.433 --> 17:43.121 is called audio file out. And if I connect it, no, audio file out, no. Audio device out. Audio device out. 17:46.624 --> 17:48.665 And there you have it. Right? 18:03.788 --> 18:13.499 My father is going to be so happy. It is also in this audio device out. It is also where you can choose the characteristics of your driver and how you 18:13.539 --> 18:30.648 are playing with it, etc. Yeah. So the one thing that we are missing is how to show on the screen what is going on. and for that what we do is so if you if 18:30.688 --> 18:41.335 we actually want to in touch design is called perform but it's to show the end of your network on the screen there is an operator for that and that 18:41.995 --> 18:52.802 one is in the comp and it's called window so when you have a window operator here it asks you which one is the window operator you want to 18:53.462 --> 18:59.384 show and we do the same thing that we were doing before and it says out 19:03.107 --> 19:17.622 okay and if you go down here you can see open as a separate window or open as a perform window if you open as a separate window you can just run it in a 19:17.642 --> 19:30.386 window. If you run it in perform, it's going to close TouchDesigner, not close, but put TouchDesigner in a latent state only to use all the 19:30.406 --> 19:40.309 resources for what you are showing. The important thing here is that to come back from the moment of the performative moment, you need to press 19:40.469 --> 19:49.029 escape and that is how you come back. If you close the window, you have closed TouchDesigner. Now, without closing this one... 19:53.971 --> 20:01.114 Without closing this one, let's go ahead and open the other, the file workshop that I mentioned before. 20:03.915 --> 20:05.996 That you should also have within... 20:13.319 --> 20:26.465 Let's open this file. But please keep this one open. Okay, because now the idea with the workshop is that I have assembled a bunch of different 20:26.665 --> 20:34.711 operators, but also a bunch of different networks that the idea is that you copy them from here, you move them to the other file where you have 20:34.751 --> 20:46.810 some basic, basic things going on. In this file, you will see that you have the window, you have the out, And then whatever it is that you put in 20:46.870 --> 20:59.913 the middle from whatever input, if you connect it to the out, then you can perform it outward. Yeah. So let's go very quickly into the workshop. 21:01.913 --> 21:14.173 And I will show you what I have added here. So first, what I have added is a more detailed explanation with examples already taken from the 21:15.634 --> 21:24.836 TouchDesigner tutorials and stuff like that of what we just talked about, but I ran too fast. So in case you get a little bit too lost, you can 21:24.876 --> 21:36.226 just check here and follow for a minute and it will tell you in detail. And then I have created One, remember, the color of the operator 21:39.267 --> 21:49.211 determines the function of the operator. When they are gray means you can go zoom in into them and see what's inside. So I have made one mega 21:49.231 --> 22:01.551 network of examples only for pixels. So, for example, this operator, the movie operator, that is the movie filing we were talking about 22:01.591 --> 22:13.055 before, when you connect it to a level, in the level you can connect the RGB values. I have... I'm putting an example of how do you mask things. 22:13.975 --> 22:30.439 Examples of... Examples of... How do you composite different things? Et cetera, et cetera. And then in the signals one, I have done the same, 22:30.759 --> 22:42.866 but for signals. So how do you make a timer? How do you have a button that triggers something else? Et cetera, et cetera, et cetera. Now, I'm not 22:42.886 --> 22:55.480 gonna leave you here with all this complexity, but we can do something together which is that you connect, you copy, let's select. And by 22:55.540 --> 23:05.087 selecting, you can, when you click on top of them, you select them in green. But if you hit shift, they start selecting in yellow. Yeah? So 23:05.127 --> 23:15.755 let's select the audio set, the audio analysis, the audio media player, and the bloom here. And then we copy them. 23:21.403 --> 23:22.304 Let me show you the bloom again 23:25.766 --> 23:40.596 Yeah, the bloom is here now if you see all those xxx here is because I have deactivated them for the in order to be more economic with the resources 23:42.497 --> 23:49.081 So if you want to see what they do so for example You have this one that is called 3p 23:52.638 --> 24:00.492 And it does that. And you have this one that is also giving you this kind of visuals. 24:04.175 --> 24:14.339 But so I am choosing the auto media player for now, but you can, for everything that I'm going to show you in a minute, you can do the same with 24:14.519 --> 24:23.362 each one of these instead of the auto media player. I'm using it as a placeholder for a texture operator. But all the ones that you see here is 24:23.442 --> 24:39.794 up to you to explore and connect there. But anyways, we were here. What we have here, if you notice when I talk, this is an operator to capture the 24:39.854 --> 24:45.935 audio from your microphone, but it's also an operator that you can plug in 24:49.495 --> 25:02.235 music directly. So if I catch this one and I put it here, then I'm connecting this one to this. So this operator is for both having sound, 25:02.275 --> 25:11.983 but also from the microphone, but also grabbing the audio signal from this stuff. And then if we connect this operator to this other operator, 25:15.806 --> 25:28.896 and we click on the viewer active, you can choose. This is how you do the audio analysis for the operator. So suddenly, 25:32.347 --> 25:45.338 Suddenly, in this operator that you see here, we are detecting the lows, the mids, the highs, Now, if we want to start controlling, because now 25:45.358 --> 25:53.562 what we are going to do is, we have done all the work of taking our signal, either from a song or from the microphone. We are putting it through an 25:53.622 --> 26:03.847 operator that gives us all the information about low, mid, size, et cetera, et cetera. And now we want to start to control some 26:03.907 --> 26:15.616 textures or something with what is coming from here. What we do is, We choose a chop that is called trail. A bit, a bit, a bit, a bit. Trail. 26:23.263 --> 26:24.865 And then we connect the trail. 26:29.850 --> 26:41.170 Yeah. And the trail what it's doing is giving you this oscilloscope look into what each one of the signals are doing. We have another operator in 26:41.210 --> 26:52.964 this case that is called AutoMediaPlayer and what it does is it takes a media folder and it plays one video after the other. one video after the 26:53.004 --> 27:04.273 other, one video after the other. And if you look into the parameters, you can see randomized playback. So this is the files that come standard 27:04.974 --> 27:17.778 with the operator itself. But if you hit on the media folder, And if you go to the files that I provided into the assets, I have made four different 27:17.818 --> 27:29.530 folders that have a lot of files inside of them. So if you click, suddenly it will open randomly each one of the files that are in that folder. And 27:29.570 --> 27:43.632 now we have all these videos. the turbine plate, I have this bloom operator that I'm going to activate, that what it does is it creates a 27:43.672 --> 27:46.815 bloom effect to whatever the input of what it's having. 27:50.879 --> 28:06.781 Yeah? Now, I'm going to use another operator to compose the image of the two that is called composite. And I'm going 28:06.801 --> 28:13.186 to connect the output of the bloom and the output of the media player. 28:23.307 --> 28:33.975 And in the composite you can see that the two inputs that we have connected appear here directly. And you can change their order. But 28:34.296 --> 28:43.683 what we are after... What we are after... Ah! And here you can see the operation that we are using to connect them. In this case it says 28:43.743 --> 28:47.786 multiply. But I'm gonna say add. 28:51.829 --> 28:52.230 And then... 28:55.093 --> 29:06.200 and then and then and then I'm gonna bring my output here and I'm gonna connect this one to the output 29:10.883 --> 29:11.704 and to the window 29:16.843 --> 29:26.966 and, and, and. As you can see, all I'm doing is just navigating in between each one of the operators and modifying parameters here and there. Once 29:26.986 --> 29:38.388 they are connected. So in this case, I'm connecting these two. I can see that it's too wide, like the effect is too strong. So I'm gonna reduce a 29:38.408 --> 29:40.809 little bit the bloom effect. But now... 29:46.434 --> 29:58.942 Now, what I would like to show you is how do we actually bridge again and we get from our music or our microphone to the audio analysis part that we 29:58.962 --> 30:08.908 have done to the operator in which we are seeing each one of these values. How do I bridge and I use one of these values to control another one of 30:08.948 --> 30:19.933 these values here? Yeah? And that is relatively simple. I'm going to change the color. Here, how it glows. So I have this operator selected, I 30:20.593 --> 30:31.157 have this glow, these parameters here that are the color, and then I have all these parameters here that are coming from the audio. How we go about 30:31.217 --> 30:41.160 it is, because I don't want to move it, but because I want to manipulate the parameters that are in here, I choose the viewer, I activate the 30:41.200 --> 30:56.328 viewer, And then I drop, I select the parameter that I want, and I bring it to the parameter that I want to modify. Yeah? And I drop it. And I say 30:56.708 --> 30:57.108 reference. 31:00.630 --> 31:11.875 So, I have put the lows to control that one. Let's try this one, or this one. And let's try the highs, R, G, P. 31:18.973 --> 31:19.153 Yeah? 31:22.475 --> 31:37.504 So, again, you have here the workshop. I have used one part for audio, one part for video. But if, for example, there is this one. My frames per 31:37.545 --> 31:46.190 second are going super low the moment I activated this one. So maybe that one is not a good idea. But... 31:48.922 --> 32:04.529 If instead of this texture operator that is the media player, I want to play with this image, I would just bring it here, paste it, and, 32:07.510 --> 32:16.534 and, and, or even bring it to the composite. Shoo, shoo. 32:21.403 --> 32:28.165 And then once again, if you want to see it on the screen, you go to the window, find the parameter that it says perform, 32:33.247 --> 32:34.428 and then escape to go back. 32:39.329 --> 32:52.670 So again, at the end, We are going to be playing with signals in audio and then texture operators. You find the signal that you would like to use as 32:52.830 --> 33:03.935 a controller for something else. Choose the viewer active. Find the parameter that you would like to control with and just drag and drop. 33:08.324 --> 33:18.192 Yeah, and then for today, these are the basic parameters. They come where you can put a bunch of texture operators or images, and it combines 33:18.232 --> 33:30.583 them into one, and the window operator to display them outside of the screen. Flow one, without the MIDI. You have a MIDI too. Let's try 33:30.643 --> 33:42.720 without the MIDI first. Very quickly, what is happening here is that I have connected the same operator that I had before, the one with the 33:42.801 --> 33:55.626 microphone. Again, to this operator, you can connect an external file. now i have it connected like this because the way this file was used by 33:55.706 --> 34:04.550 some of the students was during a live performance so it was just picking up the sound that the dj was producing to to react to that but if you 34:04.570 --> 34:20.554 connect a file it will react to the file and the way you go about it is you choose in the chops the audio device in chip and then you connect the 34:20.614 --> 34:30.046 audio device in to the entrance of this and suddenly it works on the file that we have. Yeah? Does that make sense? Okay, this is for the 34:30.086 --> 34:47.586 beginning. Then, we have the whole audio analysis part. And then I did the same. I did a trail of all the elements, of all the different channels 34:47.626 --> 35:00.015 that we are processing before. And I added a different operator here that is called analyze. And analyze is doing exactly the same as the 35:00.055 --> 35:09.044 trail, but it's giving you just the moment the momentary value of each one of them in the trail you can see the the trail of the values like the 35:09.064 --> 35:20.636 history of them but here we are only getting those and then what i'm doing is separating each one of them so i take the low that is here and i move it 35:20.656 --> 35:26.521 here the mid the high the kick the snare the rhythm and then the 35:31.481 --> 35:41.843 the spectral analysis of the scene. We take from the audio analysis, then we selected each one of the channels, and then is where you can 35:41.903 --> 35:56.267 follow to see what each of the channels are doing. In here, I have one container with inputs that are movies, four inputs as movies, one, two, 35:56.327 --> 36:06.289 three, four. that are controlled by some of the signals that are coming from the audio analysis. 36:08.971 --> 36:19.378 And then I'm doing some processing of those images. But the audio media player you saw from before is basically like a folder that auto plays a 36:19.398 --> 36:32.039 bunch of images. And here we have one operator that switches between one or the other, depending on this signal. So if you follow this signal 36:32.079 --> 36:46.469 back, back, back, you will see that is the high. So based on the high frequency levels, we are switching between one image or the other. then 36:46.649 --> 37:03.433 we are compositing the two images, the output of this with the output of this and this is something that I might leave you to figure in a second if 37:03.473 --> 37:14.423 you're up for it, but it's basically some processing and some effects that you can figure out or not depending on the interest, but then We also 37:14.463 --> 37:23.030 have another comp. So again, bringing the output of this image and combine it with all this stuff. And here we have an interesting one that 37:23.090 --> 37:38.021 is called VideoDeviceIn. This VideoDeviceIn is here in the top. VideoDeviceIn. And what it does is it turns on your camera. So your 37:38.061 --> 37:49.652 camera comes here. It's also Well, this one, we actually don't need to do anything. And then at the end, we have the out just like we had before and 37:49.672 --> 37:50.152 the window, 37:52.994 --> 38:02.301 et cetera, et cetera. So very much like an evolution of the example that I showed before, but a little bit more complicated in terms of what we are 38:02.362 --> 38:02.762 controlling.