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Hier — 26 janvier 2020Vos flux RSS

Magewell’s New NDI® Hardware Decoder Model

Par Andres Benetar

  Last year Magewell unveiled the second powerful NDI decoder device in its Pro Convert family, which will undoubtedly be the highlight of the 2020 NAB Show. While Magewell’s Pro Convert encoders enable users to bring traditional video signals into IP workflows, the low-latency Pro Convert for NDI to HDMI decoder completes the chain by ...

The post Magewell’s New NDI® Hardware Decoder Model appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE.

À partir d’avant-hierVos flux RSS

Exploring the art of the VJ pioneer: Nam June Paik @Tate Modern

Par Marco Savo

 

 

We couldn’t miss this retrospective exhibition about the father of Video Art and one of the main references in the history of art for Audiovisual experimentation.

More than 200 artworks ranging from TV screens, to robots, video walls and immersive installations. A must-go event meticulously curated by the Tate to give insight into the work of this game-changing artist and researcher.

The first thing that strikes in Paik’s work is his playfulness. No matter what device he uses, the outcome is always lighthearted and pervaded by a witty sense of humor.

  • Nam June Paik @Tate Modern

His personal relationship with technology has always featured curiosity and optimism. In TV Garden he creates a surreal immersive environment where TV screens and plants aesthetically coexist harmoniously, although weirdly.

His attitude shows a deep connection with Buddhist philosophy. TV Buddha clearly states this. With Buddha watching the TV and watching himself at the same time, he helps us to realise that our body merges with the nature in the same way it merges with technology. One is all and all is one.

  • TV Garden – Nam June Paik
  • TV Buddha – Nam June Paik

Paik embraces chaos and technology all together in his Zen driven artistic experimentation. In his Robots, wires, pins, knobs, every component is well exposed in his fascinating ironic mess. Paik’s playful approach intends to humanize technology bringing it closer to the people, easier to grasp and easier to intervene.

  • Robots

Paik manipulates analog technology not only for aesthetic purposes but also as a political act. His anarchist artistic experimentation counteracts the consumerism driven by the mass manipulation through the TV.

Audiovisual City top picks of Paik’s expo are undoubtedly the two spectacularly immersive installations: Video Wall and Sistine Chapel.

Video Wall is a mesmerizing live collage of multiple video feeds. It strongly communicates the instability of perception and lack of focus in the mass media world.

Our eyes restlessly bounce within the video space from one feed to the other. Only after thorough observation we realize each image is linked up with its surrounding revealing the artistic and rhythmic pattern of the artwork. Only going through these steps we manage to embrace the multiple inputs as one video totem.

Video Wall

The Sistine Chapel is a stunningly sumptuous Audiovisual feast. It’s a large-scale installation made by 40 video projectors exhibited in plain sight in the centre of the room as if they were musical instruments.

This baroque multi-projection is a pioneering experiment of video mapping. As it’s really hard to focus on the single video feeds, the viewer is lead to appreciate the overall immersive AVscape created by this chaotically symphonic orchestra.

  • Sistine Chapel

Artistic expression and technological experimentation bound together and filled with Nam June Paik’s refined sense of humor. Art that speaks to everyone that has ears and eyes for it!

 

The post Exploring the art of the VJ pioneer: Nam June Paik @Tate Modern appeared first on Audiovisualcity.

Avid Pro Tools HDX : NAMM 2020 Nouveaux Bundles

Par jcperney@ctmsolutions.com (Jean Christophe Perney)
Capture_decran_2020-01-19_a_23.14.31[Avid Pro Tools HDX : NAMM 2020 Nouveaux Bundles; nouvelle interface Audio MTRX Studio; Nouveau châssis Avid] Bientôt disponibles chez CTM Audio en vente et en location. Les nouveaux Bundles Avid Pro Tools | HDX Thunderbolt 3 comprenent : une carte HDX, un châssis Thunderbolt 3 (bureau ou rack), Pro Tools | logiciel ultimate, une interface audio Avid adaptée :

Tunin’Glue et l’entrée audio de la Pippin

Par Pierre Dandumont

Quand j’avais testé le jeu Tunin’ Glue, j’avais raté un truc : il peut utiliser l’entrée audio de la console. La Pippin, et c’est quelque chose d’atypique dans les consoles, dispose en effet d’une entrée audio à travers deux prises RCA à l’arrière. Tunin’ Glue est a priori le seul qui utilise cette fonction (je crois).

Je suis tombé sur cette particularité en regardant deux threads sur Twitter, avec deux personnes qui utilisent un synthétiseur maison et Tunin’ Glue. Après quelques essais, j’ai fait une petite vidéo qui montre ce que ça donne.

Pour le contexte, j’ai branché une carte son USB avec des sorties RCA vers la console. Tunin’ Glue a une interface un peu particulière, qui n’utilise que les boutons de la manette (pas le trackball), et j’ai donc dû faire quelques essais avant de comprendre (une traduction à la volée du manuel a aussi aidé). Dans la vidéo, que je commente un peu, j’enregistre d’abord – en aveugle – mon extrait audio, avant de lancer un enregistrement en local avec des sons préenregistrés. La seconde partie de la vidéo (la fin) consiste simplement à rejouer les quelques sons, dont le sample. Je suppose qu’avec de l’entraînement et une traduction du manuel (entièrement en japonais), il doit être possible de faire des choses intéressantes, mais je ne suis pas du tout musicien…

Le manuel explique comment faire

Je vous mets une image d’Evan Amos pour montrer les entrées RCA.

Les entrées RCA (à droite)

Avid présente sa nouvelle interface Audio Pro Tools | MTRX Studio

Par jcperney@ctmsolutions.com (Jean Christophe Perney)
Capture_decran_2020-01-16_a_19.26.12[Audio Technologie : NAMM Show 2020 - Avid présente sa nouvelle interface Audio - Avid Pro Tools | MTRX Studio] Fruit d'un travail collaboratif fructueux entre Avid & DAD pour répondre à la demande du marché en exopansion. Présenté aussi chez CTM mardi prochain à notre prochain workshop - 14h30 "Workshop Nouveau Mac Pro - Nouvelle Surface Avid S1 et maintenant Nouvelle interface Avid Pro Tools | MTRX Studio " :

vid présente sa nouvelle interface Audio Pro Tools | MTRX Studio

Par jcperney@ctmsolutions.com (Jean Christophe Perney)
Capture_decran_2020-01-16_a_19.26.12[Audio Technologie : NAMM Show 2020 - Avid présente sa nouvelle interface Audio - Avid Pro Tools | MTRX Studio] Fruit d'un travail collaboratif fructueux entre Avid & DAD pour répondre à la demande du marché en exopansion. Présenté aussi chez CTM mardi prochain à notre prochain workshop - 14h30 "Workshop Nouveau Mac Pro - Nouvelle Surface Avid S1 et maintenant Nouvelle interface Avid Pro Tools | MTRX Studio " :

Filmmaking Challenge: How to Create Foley for Stock Footage

Par Robbie Janney

Do you have a video clip, but it doesn't have any accompanying audio? In this challenge, we explore how you can create your own foley effects.

Soundcheck Technologies’ Lance Gordon Discusses Mixing for Combat Sports and eSports Productions

Par D Pagan Communications

Q: Can you provide some background on who you are and what you do? A: As a freelance audio engineer and co-owner of Soundcheck Technologies, I have worked with some of the biggest rock bands and largest sporting events in the world. I have done just about everything from the Superbowl to NBA Finals, Winter ...

The post Soundcheck Technologies’ Lance Gordon Discusses Mixing for Combat Sports and eSports Productions appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE.

NUGEN Audio Unveils SEQ-S Software Update at NAMM 2020

Par D Pagan Communications

Company Highlights all the Great Features of its Creative EQ Music Production Editing Solution   ANAHEIM, CA, JANUARY 13, 2020 – NUGEN Audio is pleased to announce the latest software release for its SEQ-S linear phase ‘spline match and morph’ EQ solution at the 2020 NAMM Show (Booth 14101). Now with a resizeable direct-draw interface ...

The post NUGEN Audio Unveils SEQ-S Software Update at NAMM 2020 appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE.

Step up Your Audio: 3 Tips to Improve Your Projects

Par Anthony Najera

In this tutorial, we take a look at three important considerations to keep in mind to improve the audio for your next video project.

Toute l'actualité 2019 de l'ONDIF : Studio son installé par CTM Solutions

Par jcperney@ctmsolutions.com (Jean Christophe Perney)
0[Studio & Musique de film - Toute l'actualité 2019 de l'ONDIF : quand l'orchestre national d'ile de France se met à la musique de film avec son nouveau studio installé par CTM Solutions] Une activité débordante en 2019 et une grande réussite pour ce nouveau lieu inauguré fin 2018 : enregistrements avec l'orchestre pour des productions extérieures : 

⁣ ⁣⁣ ⁣#repost @raio__⁣ ⁣__________________⁣ ⁣⁣ ⁣Video Mapping...




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⁣Video Mapping del espectáculo L.U.X de RAIO, cubos!! 🇬🇧3D Projection mapping from show L.U.X by RAIO, dynamics Cubes!! @ayuntamientovll @renault_esp @avsistemas @cover.club @alfonsolosco #madmapper #resolume #millumin #3dprojectionmapping #audiovisuales #videomapping #encendidodeluces #mappingprojection #mapping3d #blender #foley #moog #makenoise0coast #animationnodes
https://www.instagram.com/p/B7N6bZcpuO-/?igshid=2mj6gal6zhxt

LAPSUS 2019 – ACT 3 : A SONIC BOMB

Par Marta Minguell

The third act of the triology of Lapsus Festival 2019 welcomed Cuzanne Ciani, a pioneer of sound design and electronic music, pianist and powerful creative mind who opened the way to many other female artists.

Lapsus is the sixth edition and is divided into three special events. After ACT 1 in which the sounds of the Eastern Europe were explored through the collaboration with Unsound Festival in Poland; ACT 2, with multidimensional sounds of Moritz Von Oswald and Pina; and ACT 3, by the title of A Sonic Womb, a journey through the powerful beginnings of female electronic music.

In ACT 3, A Sonic Womb took place in CCCB with the performances of Suzanne Ciani and Eva Geist. Also Philip Sherburne talked with Suzanne Ciani about her life experience in the field and there was a projection “Circle of Light” by Anthony Roland with the soundtrack of Delia Derbyshire and Elsa Stansfield. This edition explored the beginnings of women in electronic music thanks to the immersive sound environment designed by Intorno Labs. In the night, more artists performed at LAUT.

EVA GEIST (Live)

Geist is a Vocalist, Songwriter, Composer, Synthesist and Sound Designer. She invited us through a cinematographic musical journey with peculiar melodies, warm rhythms and atmospheres with space disco – since 2016, Andrea Noce has been buliding recognised and respected work in the electronic music scene, publishing her work on record labels such as Macadam Mambo, Hivern Discs and Elestial Sound.

SUZANNE CIANI (Live)

After 40 years of professional trajectory, she has been nominated five times in Grammy awards, and her work has been important to understand the beginnings of the synth music. In her show at Lapsus she brought an exclusive performance with the modular synthesizer Buchla 200e.

Circle of Light (Projection)

This project is a film in colour of 32 minutes directed by Anthony Roland and developed through the photographic material of Pamela Bone. The soundtrack was signed by Delia Derbyshire and Elsa Stansfield. The composers had ideas that were innovative in their times.

Infinite Waves (Conversation between Suzanne Ciani and Philip Sherburne)

The well-known Philip Sherburne (Pitchfork, The Guardian) interviewed the American producer Suzanne Ciani at CCCB. Both talked about the professional career of Ciani, and of the female on the electronic scene in the 70s until the present day.

After attending ACT 3 of Lapsus Festival, with Audiovisual City, we felt kind of inspired and proud of Suzzane Ciani, a strong and brave woman who fought to work for what she loves doing despite the cultural circumstances of the moment. We also felt proud of Eva Geist, who made us dance and enjoy her incredibly special rhythms. In general, the work of the artists in this edition was impressive.

The post LAPSUS 2019 – ACT 3 : A SONIC BOMB appeared first on Audiovisualcity.

American Society of Cinematographers Announces Feature Film Nominees

Par Ignite Strategic Communications

The American Society of Cinematographers (ASC) has nominated eight feature films in the Theatrical and Spotlight categories of the 34th ASC Outstanding Achievement Awards. Winners will be named at the organization’s annual awards on January 25 at the Ray Dolby Ballroom at Hollywood & Highland. This year’s nominees are: Theatrical Release Roger Deakins, ASC, BSC ...

The post American Society of Cinematographers Announces Feature Film Nominees appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE.

Capturing Sound with the New 32-Bit Floating Audio

Par Rubidium Wu

Cameras that shoot RAW are more forgiving for new shooters. This new audio format — a 32-bit floating point — promises to do the same for sound ...

Creating Scenes with Audio: Make Your Setting Appear Silent

Par Lewis McGregor

In this writeup, we'll discuss how to make a scene completely silent, as well as how to reintroduce specific sounds into your scene.

Les sons cachés de Wolfenstein 3D avec le PC Speaker

Par Pierre Dandumont

En lisant le site de Fabien Sanglard (spécifiquement le Black Book sur Wolfenstein 3D), je suis tombé sur un truc intéressant : le jeu proposait un mode audio caché avec des sons de meilleure qualité sur le haut-parleur système (PC Speaker).

J’en parle un peu par nostalgie : j’ai découvert Wolfenstein 3D sur une machine sans carte son, avec les bruits du haut-parleur système. Par défaut, il propose différents types de périphériques audio, avec différents types de son. Le jeu date du début des années 90, avant la standardisation des API, donc il y a plusieurs implémentations.

Premièrement, du PCM, avec du 8 bits à 7 000 Hz en mono. Ca fonctionne sur les premières Sound Blaster et sur le Disney Sound Source, une carte son externe en bus parallèle. Pour schématiser, à l’époque, il fallait interrompre le code principal, envoyer les données audio au périphérique audio, et revenir au code principal. Dans le premier cas, avec la Sound Blaster, la charge sur le processeur est faible, la carte son dispose de fonctions DMA (Direct Memory Access) qui permettent de transférer les données en arrière-plan et le code audio fonctionne à 140 Hz. Donc 140 fois par seconde, le jeu s’occupe du son. Avec la carte Disney Sound Source, le code envoie environ 10 octets à chaque itération, donc il fonctionne à 700 Hz. La carte externe dispose en effet d’un tampon de 16 octets qui doit être alimenté en permanence pour obtenir du son. Assez logiquement, le processeur a plus de travail.

Les options

Maintenant, parlons du haut-parleur. Techniquement, il ne fonctionne qu’avec des ondes carrées, mais on peut jouer sur la fréquence pour obtenir… un peu mieux que de simples beep. Dans ce mode, le code audio fonctionne à 140 Hz (donc 140 interruptions par seconde). C’est assez moche, mais c’est mieux que rien.

Maintenant, la partie intéressante : le PCM sur le haut-parleur. Ce mode caché, reprend les effets sonores 8 bits / 7 000 Hz, mais comme le haut-parleur n’est pas réellement un DAC, on est sur du 1 bit. Le code transforme donc le 8 bits en 1 bit, ce qui donne un résultat… pas si mauvais. Mais il a un défaut, ce qui explique que le jeu ne le propose pas : il n’y a pas de tampon, donc le code audio doit être appelé 7 000 fois par seconde. Et sur les CPU de l’époque, c’était visiblement trop. Pour rappel, la norme était plutôt un 286 à 12 MHz qu’un 486 à 66 MHz. Dixit le Black Book, la fonction a été cachée parce qu’elle cause des saccades sur les petites machines.

L’activation et le test

Pour l’activer, il faut modifier manuellement le fichier de configuration, en passant la valeur de l’offset 0x01D2 à 01. Si vous n’avez pas compris, vous n’avez jamais modifié de sauvegardes avec un éditeur hexadécimal dans les années 90. Plus sérieusement, une personne propose les fichiers modifiés là. Il y a une vieille vidéo qui montre le résultat, mais j’ai essayé de faire quelque chose de mieux.

A la base, je voulais tester sur un vrai PC, mais je me suis retrouvé devant un problème : mon seul PC rétro n’a pas de boîtier et donc pas de haut-parleur PC. J’ai donc d’abord testé dans DOSBox avec Boxer (attention, ça ne fonctionne pas sous Catalina). Une fois le jeu intégré, ça fonctionne assez bien. Je comptais vous faire une vidéo direct, mais j’avais la flemme d’installer les outils pour enregistrer la sortie son interne.

Ensuite, j’ai essayé sur une machine sur laquelle je pouvais capturer l’audio directement : un Power Mac avec une carte DOS. En effet, la carte DOS redirige les effets du haut-parleur PC directement sur la partie audio du Mac. Ce n’est pas exactement ce que ça donne avec un vrai haut-parleur de PC, mais c’est déjà assez représentatif du gain. Là, j’ai juste fait une capture en direct de la sortie casque de la machine. Pour l’entendre, c’est à partir de 1 minute et 48 secondes.

Comme vous pouvez l’entendre, c’est nettement meilleur et on peut même presque comprendre l’allemand des nazis. Sur la carte avec un 486 à 66 MHz, ça ne change pas réellement la fluidité du jeux. Avec Boxer, en limitant les performances manuellement, ça semble un peu plus saccadé quand on descend sur des paramètres très bas (équivalent à un 286), mais c’est peut-être tout à fait subjectif. Et en testant, je suis revenu 30 ans en arrière (ou presque)…

Reviewing YouTube’s New Non-Linear Video Editor

Par Jourdan Aldredge

Let’s take a look at YouTube’s offerings to see how it works, some of its editing options, and if it might be of interest for certain projects.

Remote Sports Broadcasting Q&A with Audio Engineer Chad Robertson

Par D Pagan Communications

Q: What’s your current role and what does it involve? A: I’m a freelance audio engineer and mixer, mainly working as an A1 on college sports for ESPN, though I’ve worked for many of the networks as well as other clients over my career. The majority of what I do is football, basketball, baseball and ...

The post Remote Sports Broadcasting Q&A with Audio Engineer Chad Robertson appeared first on NAB Show News by Broadcast Beat, Official Broadcaster of NAB Show - NAB Show LIVE.

Sonarworks Reference 4: Can A Plugin Improve Your Mixdowns?

Par Matthew Takata

As a music producer, there are few parts of your process more crucial than your mixdown phase. No matter what genre you’re in, properly balancing each element in your original productions can mean the difference between a club killing track and a dancefloor flop. We were highly intrigued to hear about a plugin that claims […]

The post Sonarworks Reference 4: Can A Plugin Improve Your Mixdowns? appeared first on DJ TechTools.

Review: Kali Audio Mountain View Bluetooth Input Module

Par Markkus Rovito
Review - Kali Audio MV-BT Bluetooth module

if you’d like to add Bluetooth audio compatibility to your existing setup, Kali Audio has a low-cost dedicated module for you: the MV-BT. This review examines the unit’s audio quality, performance, and value.

The post Review: Kali Audio Mountain View Bluetooth Input Module appeared first on DJ TechTools.

Is the ERA 4 Noise Remover a Simple Solution to Noise Removal?

Par Lewis McGregor

Today we're going to look at Accusonus's ERA 4 Pro bundle and discuss how it operates within Resolve, focusing specifically on noise removal.

KRK Limited Edition ROKIT G4 “White Noise” Monitors Now Available

Par D Pagan Communications

NASHVILLE, DECEMBER 2, 2019 – KRK Systems, part of the Gibson family of brands, is adding a new family of studio monitors to its latest ROKIT Generation 4 (G4) range, the limited  edition ROKIT G4 White Noise. Available in 5-, 7-, and 8-inch bi-amp models, these stylish limited-edition monitors offer the same impressive features as the newly ...

The post KRK Limited Edition ROKIT G4 “White Noise” Monitors Now Available appeared first on NAB Show News by Broadcast Beat, Official Broadcaster of NAB Show - NAB Show LIVE.

DPA’s New 4560 CORE Binaural Headset Microphone Simplifies Immersive Sound Capture

Par whitenoise

YouTubers, sound designers, podcasters, vloggers and other content creators, incl. film makers who want to capture authentic immersive audio for their projects, can now do so with ease thanks to the launch of the new 4560 CORE Binaural Headset Microphone from Danish manufacturer, DPA Microphones. The new binaural headset delivers the superior sound quality for ...

The post DPA’s New 4560 CORE Binaural Headset Microphone Simplifies Immersive Sound Capture appeared first on NAB Show News by Broadcast Beat, Official Broadcaster of NAB Show - NAB Show LIVE.

⁣ ⁣⁣ ⁣#repost @ex_lumina⁣ ⁣__________________⁣ ⁣⁣ ⁣Second...




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⁣Second #ledlight #artinstallation for @festilumi #bonifacio, featuring #3deffect on both #light and #audio in St Dominique street, making the festival entrance a real #immersiveart #audiovisual #experience. Made with love on @touchdesigner, @millumin2 and @mad_mapper, driving #sound and #lightcreation using only #video files.⁣⁣
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⁣⁣#lightsculpture #ledartist #immersiveexperience #lightart #lightartist #lightfestival #street #animation #festilumi #visualart #installationart #millumin #madmapper #madlight #leddisplay (at Bonifacio)
https://www.instagram.com/p/B5Hw6zHpAGg/?igshid=dnhjri1dco8n

NUGEN Delivers Deeper Workflow Control for Producer/Mixer Alvin Wee

Par D Pagan Communications

LOS ANGELES, NOVEMBER 20, 2019 – For as long as he could remember, Producer/mixer Alvin Wee loved music and film; and he was fortunate enough to cut his teeth working with composers and record producers in Los Angeles on film projects such as Kung Fu Panda, Kingsman and Eddie the Eagle. Having such a strong ...

The post NUGEN Delivers Deeper Workflow Control for Producer/Mixer Alvin Wee appeared first on NAB Show News by Broadcast Beat, Official Broadcaster of NAB Show - NAB Show LIVE.

MIRA FESTIVAL 2019

Par Marta Minguell

The past week, 5th – 9th November, MIRA FESTIVAL celebrated its 9th Edition and Audiovisual City were present to enjoy the program that featured audiovisual shows, 360-degree experiences in DOME format, installations, workshops and conferences.

This edition rethought the combination of art and technology as tools of protest, to turn thinking into action, and invited us to interfere in a personal transformation to trigger a change in the future. In addition to this ingenious theme, the festival opened a new stage at Fabra i Coats, dedicated to multidimensional sound: the 3D Sound Room by Estrella Galicia.

For the live AV shows, we want to highlight some well-known artists that MIRA festival brought this year. Thursday Sam Shepert (AKA Floating Points) played accompanied by the visuals of Hammill Industries. Friday’s Av highlight was CLARK feat. Evelyn Bencicova and her show of a wide gamma of textures along with his characteristic techno. Alessandro Cortini also produced some emotional content through electronic sounds, with his warm and human visuals. On Saturday Biosphere performed a series of recordings and improvisations captured outdoors on the island of Senja, and Vessel and Pedro Maia presented the dualities of the human condition. But these are just some of the many artists who participated in this edition.

Some of the artists that surprised us at Audiovisual City were, on Friday, the Nihiloxica band, with their intercultural experiment, fusing the indigenous Bugandina percussion with dark European club music. Also, on Saturday, the duet of 700 Bliss, with who you clearly see a relationship with the theme of the festival, sounds and words are embodied in suffering and social alignment in an unfair world. And finally, Curl, on Saturday, where we could see an unexpected turn in the style of the band, showing a previous experimental work. The originality and strength of these artists left us astonished.

We show you some of the magical moments that we captured at the festival.

Main Stage
Robert Lippok and Lucas Gutierrez present Non-Face (DOME)
Robert Lippok and Lucas Gutierrez present Non-Face (DOME)
700 Bliss (Live AV)
700 Bliss (Live AV)
Curl (Live AV)
Curl (Live AV)
Rally (Live AV)
Rally (Live AV)
Beatrice Dillon (Live)
Beatrice Dillon (Live)
Biosphere (Live AV)
DOME
Floating Points (Live AV)
Dualismo, Carlos Saez
Dualismo, Carlos Saez
Dualismo, Carlos Saez
Dualismo, Carlos Saez
Curl (Live AV)
Alessandro Cortini (Live AV)
BREACH ACT I, Rick Farin
BREACH ACT I, Rick Farin
BREACH ACT I, Rick Farin

MIRA Festival

Barcelona, Spain

info@mirafestival.com

LINK BOX

Mira Festival

See on the map

The post MIRA FESTIVAL 2019 appeared first on Audiovisualcity.

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