Visual Distortion Solutions

Rauschfeld creates music videos, live visuals and music.

Here are the latest posts.

Music video »Sensor Mod (Deep Face)«


Here I’m using the 1920s timelapse footage of plants like I did in Drone 2.12.24, but in a very different way. The flower videos were glitched using displacement and feedback loops in TouchDesigner and composited with a background made with GlitchNES that was filmed off of a CRT TV. These videos were further glitched with Resolume Arena and then edited in Final Cut Pro.

Also for the long drone part I took a photo of my eye and used the same displacement glitch method as with the flowers. In this case the displacement is controlled with a very slow LFO in TouchDesigner, so the effect keeps getting stronger the longer it is visible.

Music video »Drone 2.12.24«


For this video I experimented with particles and different kinds of feedback. Source for the particles was this 1920s timelapse footage of plants blossoming. A lot of time went into preparing the footage, including upscaling, cleaing, luma-keying, editing, and positioning. The feedback loops in TouchDesigner were reset every 16 beats to match the pitch bend in the music.

Music Video for »redroom/black« by Rauschfeld


For this music video both elements, the audio-reactive background grid and the audio-reactive lines, were made in TouchDesigner. It’s all in one patch but the two parts were recorded separately (with alpha channel) and then edited together with the background in Final Cut Pro. The separate recordings gave me a bit more flexibiliy and also made it easier on the CPU and GPU.

I made several versions of the white lines with different line widths, and different effects on top. In the end I used a version with very few effects (only blur and limit), because I felt it fitted the somewhat analogue/paper style best.

The lines start with just two points and gain a new point (and thus a new line) with every beat of the kick drum, resulting in around 370 connected lines at the end of the video.

In the beginning the lines are quantized to a grid which they lose during the second break of the track, making it even look a bit organic – especially towards the end with a higher number of points. The tranisition to the non-grid version was animated in TouchDesigner.

The texts on every node are basically just the coordinates for every point added together and then converted to letters with a Python expression in TouchDesigner.

For the music I once again employed the Fors Opal Max for Live device, Live’s own Operator synth and a bunch of effect plugins.

As for the title: At first I wanted to use a red background, but it looked a bit too to dark. I liked the title, so I went with it anyway.

Music Video for »Face in You« by Rauschfeld


I finally took the plunge and started to learn TouchDesigner. The 3D model I used here is a low-poly scan of my face, cleaned up in Blender and imported into TouchDesigner, where I distorted it with noise, added some feedback loops and different materials for the different looks. I set up four cameras in TouchDesigner and recorded the whole track for each camera separately. These recordings were imported into Final Cut Pro where I edited the different scenes for the video.

This is also the first time I worked in 4K. For my usual analogue video low-fi glitchy stuff it isn’t really necessary but in this case I thought it should be worth it.

The music was made in Ableton, like the last track with the wonderful Fors Opal device.

Music Video for »A Cube (Drift)« by Rauschfeld


The basic visuals for this video were made with the wonderful glitchNES for the Nintendo Entertainment System (used in an emulator here). I filmed the glitchNES visuals off of an old CRT TV to make them less pristine and to add the good old CRT scanlines.

Then I processed the CRT glitchNES visuals in Resolume Arena, mostly using the Threshold effect to make them monochrome black and white (in reality they’re very colorful) and the Edge, Trail, and Shift Glitch effects. For the Shift Glitch effect I made some parameters audio reactive to different parts of the frequency spectrum. These visuals were projected inside the cube using Resolume’s Cube effect.

I recorded several versions of this with different effect combinations and then edited them in Final Cut Pro.

The starting point for the music were sequences made in Ableton Live with Fors Opal. I recorded each of Opal’s engines to a separate track in Live, and then heavily edited them to form the track structure. Some additional sub bass FM was added with Ableton’s Operator synth.

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