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We pick the brains of Cinema.AV on his beautiful video synth work

Par Hayley Cantor




These days AV artists are hiding out all over the place, this time curiosity didn’t kill the cat, as I stumbled upon the work of Cinema.AV on Instagram. it’s amazing where a hashtag can take you… #videosynth. I was keen to find out how someone so visually analog ends up that way, and how they manage in an ever expanding digital world (at the time of writing more so than ever).

1.Tell us about your first ever live gig? When was it and how did it go?

For years, I used to play a kind of ambient, soundscape style of music, and for live performance, I would put whatever found vhs tape behind me for visuals. Often without a screen. It often just turned into lighting for my performance, instead of clearcut visuals. 

Fast-forward to a couple years later, in summer 2015, where I started buying jvc video mixers, archer and vidicraft boxes. It was here where I took it upon myself to do visuals for a show I had booked. Sadly, I didn’t realize, the projector couldn’t handle the distorted signals I was throwing at it. Luckily though, someone at the last moment, let me borrow theirs. It was total godsend. The result was this hyper-distorted cross between national geographic videotapes. It worked for the more abstract, psychedelia I had booked for the evening,

Later down the line, I found the need for time base correctors in live performance, and mixers equipped with such. To evenly blend, rather an abruptly with one of those RCA Y splitter cables turned on end. Which is actually the same as the classic Klomp dirty mixer. It was all stuff I got for free, or nearly no money. Never top of the line. Always the most difficult, least practical solutions. But the result was always unique to the moment, to the performance; endlessly fleeting. 

2.We discovered your work on Instagram. How do you usually connect with the AV community online? Does social media play a big role for you?

Strangely, yeah. I hardly ever go out locally, unless of course I’m playing a show. So beyond that setting, you’ll never find me in the wild. Even before this quarantine action, I was a total homebody. Staying in whenever possible to work on art and infinitely explore the machines. So having access to social media platforms is actually key to the whole system. I can actively gauge what pieces people actually like, what ideas stick and in turn, get shared with a larger audience. 

Its those posts that snowball into bigger and better gigs. As the recognition on a global scale is significantly more gratifying than just the local efforts I receive so often. In fact, for the better part of 2019, I was very busy with live video work. Having nearly no time off, I accepted this as a lifestyle, rather than just hobby. And in the social media zone, I’ve been able to publicly beta-test things like the Erogenous Tones Structure module, Phil Baljeu’s custom vector graphics system and as of late Andrei Jay’s latest raspberry pi video synth and feedback algorithms as hardware devices. The curiosity the results generated have in turn, sold modules and made the manufactures money to sustain their efforts.   

…having access to social media platforms is actually key to the whole system. I can actively gauge what pieces people actually like, what ideas stick and in turn, get shared with a larger audience. 

To be fair though, I’m not sure how much of this actually real. If it’s all made up, or the reactions are fabricated. It’s a fine silver-lining we’re all walking along. One day, a post could generate hundreds of interactions, while the next day, nothing. I think alot of that could actually be the option for folks to drift between realities, between the physical and the cyberspace. It’s in this cyberspace, that I do often connect with other artists, say for example my bud Konopka and has online video painting series. To watch him create something entirely from scratch, in real time, thousands of miles away is a true head-spin if you think about it. But not even 5 years ago would have been possible. 

All photos courtesy of Evan Henry.

3. It’s fascinating to how analog and digital worlds inspire AV artists. What’s your take on the two and how do you find working with analog systems for live visuals?

Truly. When I first got started, it was all analog, all found devices. Though in time, I’ve found the whole LZX modular zone, which started analog and now has drifted into this wild digital hardware dimension that has opened up all kinds doors. The obvious attraction to the large analog modular is the physicality and pure intuitive nature of the whole thing. As in a live setting, there is nothing more fun and unpredictable than a hand-wired mess of cables and devices to create this ever-fleeting dialogue, never again to be replicated. For ambient, for house, for techno and literally everything in between, there’s this infinite body that just works, and often never crashes or fails. 

If anything, it’s always the digital component that freezes or fails first. I’ve done shows with computer artists that for some reason or another, who just can’t make it work that particular night.

If anything, it’s always the digital component that freezes or fails first. I’ve done shows with computer artists that for some reason or another, who just can’t make it work that particular night. So just step in and end up taking over the evening with my system. However, I’ve had my fair share of venues tell me their systems are HDMI only. So learned to convert the analog composite outputs of the modular to the HDMI with aid of things like Ambery converters and scalers, Extron scalers, and even the silly Blackmagic shuttle, that has it’s own share of issues. It wasn’t until last summer that I realized the Roland V4-EX had a very effective means of conversion and scaling to HDMI, VGA, and back down again. The result was a total game-changer. So I sold my other mixers, and devices to scale up to HDMI and hadn’t looked back. This meant I could seamlessly work with digital projection systems and streaming processes. And from the get-go, it’s been used in every performance effort since. It’s even let me collaborate with both digital and analog artists alike. To fade and key between all manner of artists and ideas. 

So little things like that make the whole system go, which leads me into the question…

4.What’s your basic setup when do performance live AV shows? (If you have one)

I am constantly pushing myself as an artist. So every year or so, I’ll experience this major creative shift around winter time, when my job at the photo lab temporarily shutters for winter break on campus. It is is then where I have about a month to chill and regroup my mind. This generally means some new gear enters the studio, and in turn the dirty warehouses they get thrown into for live work. 

All photos courtesy of Evan Henry.

In 2019, I saw my modular system grow from a single 6U, two row case that could fly on any airline, to a larger 12U, four row system, that for the majority, made it’s way into every gig. In tandem with the V4-EX, the two were all I needed to do 8-10 hours of a rave whatever else I was getting booked for. However, the few time I flew out for one-offs, I brought it back down to 6U. Which was a lot of fun and lent itself to collaboration with other artists. It was in this time though, away from gigs and rather chill moments at the lab, where I began to experiment with the virtual dimension of VSynth, the Max/Msp visual extension. The result was very reminiscent of my larger modular system. Though at the time, my computer could only handle small patches. Anything big would see my computer begin to overheat and grind to a halt. 

This got me looking at computers, seriously.  As a video generation and manipulation tool, much in the same way the dedicated hardware was, but a larger, more sophisticated, and recallable level. It was months of research and a very generous donation within the family that lead me onto a gaming-oriented laptop, complete with a dedicated graphics card, that in it’s day was considered high-spec, and miles beyond my aging macbook. From the moment I lifted open the box and got it booted, I went straight into complex Max patches and dense 3D structures with the aid of Resolume Arena. When I realized I could save, and recall every motion, I started plotting how to gig with it. To layer to pieces together and to treat Resolume as a video sampler of my analog devices. What began to happen was a meshing of dimensions. No longer was one any better than the other. They were one of the same. It was with this entry that live performance physically became less stressful and far more manageable. No longer did have to carry this unwieldy modular system on a train or a bus. I could now discreetly carry the common laptop computer, just as everyone else. 

All photos courtesy of Evan Henry

Setting up and breaking down, with the projector, is a two cable, two power supply motion. So quick and so light. With the aid of a midi controller, all the tactility remains, and nothing changes. The digital results do look incredible though. I cannot deny that. No matter what I have though, I make the best of all of it. For touring, in 2020, my setup is just that. I did some dates with Steve Hauschildt and Telefon Tel Aviv across Texas and the process was so smooth. Same for the brief efforts with LLORA and BATHHOUSE, just weeks ago. So much less to think about, all with the same manipulations and motions.  

5. What would be your dream AV gig?

Currently speaking, the dream is still to tour, to travel and do large scale art installations with my video work. I had things lined up, but those have all fallen in favor of the current pandemic. But that’s honestly not going to hold anyone for long. These things will all still happen, just not soon as I had anticipated. I was truthfully hoping to break into the festival dimension; Mutek, Movement, Sonar, Aurora, as from a live scale, that feels like the next big move, amidst touring through the theaters and dedicated art spaces. I’ve had tastes of all those, but like anyone serious about their craft, I want to further and really make a name for myself, as truly, I don’t know what else to do. 

Find out more about Cinema.AV on his artist page

The post We pick the brains of Cinema.AV on his beautiful video synth work appeared first on Audiovisualcity.

This redesigned light-plot is starting to take shape !...



This redesigned light-plot is starting to take shape ! ⁣
⁣States, command-line, grid, trackpad, rect-selection, … New beta coming in the next days.⁣
⁣#milllumin #light #plot #interface #beta
https://www.instagram.com/p/B-g5rk_JBGK/?igshid=1hky5vwyqvvgj

À partir d’avant-hierVos flux RSS

Une nouvelle librairie de motion capture pour vos projets

Par Shadows

Centroid, studio de motion et performance capture et production virtuelle, annonce le lancement d’une librairie en ligne de données de motion capture. Situé dans les célèbres studios de cinéma de Pinewood, Centroid a en pratique mis en place un site dédié qui compte déjà près de 400 éléments.

Au menu, pour le moment : humains en déplacement, actions pour vos foules (personnages assis ou debout qui observent, parlent, mangent, bougent légèrement, lisent, boivent, téléphonent…), cheval, mais aussi des collections thématiques telles que “zombies” et “pirates” (avec des personnages qui escaladent, chargent des canons, tirent, se battent au sabre, etc).

La collection a pour elle deux avantages principaux : d’une part, l’utilisation du service Sketchfab pour l’affichage 3D temps réel de chaque élément, ce qui permet contrairement à une vidéo d’observer le mouvement sous tous les angles, zoomer, faire pause afin d’être certain que ce que l’on achète convient.
D’autre part, les tarifs relativement abordables : les scènes avec humains sont toutes disponibles pour une quinzaine d’euros. Les scènes avec cheval sont plus chère, le record étant atteint avec l’extrait “lie down” (1500€ environ). On imagine évidemment que la raison est la nécessité de recourir à un cheval spécialement dressé.

Enfin, sur le plan technique, les données sont fournies au format FBX avec mouvement en 120fps appliqué à un squelette (les personnages des visualisations sont présents de façon purement esthétique et ne sont pas inclus).

L’article Une nouvelle librairie de motion capture pour vos projets est apparu en premier sur 3DVF.

Media Links Drives 100 Billion Bits per Second to the Network Edge for Remote Production Applications

Par DM

New Generation MD8000-100G Edition for the world’s most proven & trusted IP Transport Platform As demand surges for higher bandwidth at the network edge in order to transport more and more media channels, Media Links, manufacturer and pioneer in Media over IP transport technology, is introducing its new MD8000-100G Edition. Under the hood of the ...

The post Media Links Drives 100 Billion Bits per Second to the Network Edge for Remote Production Applications appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

⁣ ⁣⁣ ⁣#repost @loeilaguillaume⁣ ⁣__________________⁣ ⁣⁣ ⁣Y’a des...




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⁣#repost @loeilaguillaume⁣
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⁣Y’a des formations comme ça… #logicielregievideo #millumin2 #millumin #qlab #maitrise #perfectionnement #ocs #midi #hap #vp #mediaserver #reseau #imagination #mapping #projectionmapping #lepied #espacevirtuel #media #artnumerique #pixels #creation #regisseurvideo (at CFPTS)
https://www.instagram.com/p/B-MHrvwJsAA/?igshid=gr5tkudoxsap

Overlap

Par Hayley Cantor

Born in the heart of the VJ boom in the 90s, after their own artistic experimentation, and Michael’s first ever (what we would call now) VJ gig in 1985, Michael Denton and Anna McCrickard formed Overlap in 1998. They are based in Hastings in the UK. Unlike some VJs, who purely focus on the visual side of the art form, Overlap are a an AV collaborative duo in the purest sense of the concept, who also produce minimalist music in parallel with their exploration of both moving and still image. They’ve also performed at many a festival, forming part of a collective of VJs represented by Microchunk.

Their work takes the form of live audiovisual performances, exhibitions, transitional paintings, installations, VJ sets and even prints, and takes on audiovisual culture from a fine art perspective, which makes their work both fascinating and unique in a wide variety of different contexts.

Overlap started VJ-ing and performing AV sets as regular guests of resident VJs Reality Check at Turnmill’s club (The Gallery, London Calling) in 1998, guesting with Reality Check at The Chemical Brothers’ headline set at Turnmill’s Millenium gig in London’s Docklands. The next decade saw Overlap’s visuals splashed across screens at major international festivals including Creamfields, Andalucia, Electric Picnic Ireland, Glastonbury’s Glade stage, Pete Tong’s Wonderland in Ibiza and Glastonbury’s Glade, as part of the Microchunk visuals boutique. They created visuals for for the Industrial Resolution installation at the first Manchester International Festival: performed live on the largest indoor screen in Europe, accompanying the world’s leading DJs including Carl Cox, Fatboy Slim, Laurent Garnier, Layo, Pete Tong and Sasha. Overlap also played regular VJ slots at Razzmatazz (Loft), Barcelona and Pete Tong’s Wonderland, Eden, Ibiza (Deadmau5, Groove Armada). Overlap were commissioned by Microchunk to animate Damien Hirst artwork for Pete Tong’s Ushuaia at Le Grand Bazaar, Ibiza in 2013. 

Overlap also work with the Noise of Art collective as resident VJ-s and moving image artists. Their fine art single screen video works have been screened at the ICA, BFI and Tate Modern. Recent projects include:- a celebration of 100 Years of Electronic Music at the National Portrait Gallery London; Forest Tree limited edition for Sedition Art; audiovisual “painting” installations for the National Trust’s Fenton House and Calke Abbey; opening the Arquiteturas Film Festival in Lisbon with their Places that Dance AV set; short films “Returning” and “Switch” awarded special mentions at the Avanca and EMAF film festivals; an audiovisual performance in the British Ambassador’s Residence in Beijing. Recent art screenings/performances of their works have included Aquatint at Riders on the Mall/ROM, MUSZI, Budapest and Digital Graffiti, Florida, Forest Tree at STRP Biennale at Strijp S in Eindhoven and Cloud Edged at Light Fantastic, House of Nobleman, Frieze.

Perhaps one of the most poignant aspects of their audiovisual artwork is its accessibility and ability to be embraced and engaging in such an extensive mixture of spaces, including performances and installations everywhere from music festivals (Creamfields, Splice festival, Madatac, Fiber, Generate, Big Chill, STRP Biennale); and night clubs (Razzamatazz, Barcelona, Wonderland – Eden, Ibiza), to prestigious galleries (Tate Modern, Pompidou, National Portrait Gallery, the Victoria and Albert Museum), as well as being featured in some important publications on VJ culture, such as Audio – Visual Art and VJ Culture (2006) They even remixed and VJed The Beatles Magical Mystery Tour film for its cinema première at the South Bank with Noise of Art at London’s BFI.

Their working process involves adding and removing layers, degrees of opportunism and systematised chance, creating generative combinations ranging from slow transitional paintings, to fast flowing AV performances. 

Their most recent work includes Transitional Landscape, designed for exhibition and art installation, ‘Rooms’, which explores the relationship between indoors and outdoors, combining and fusing luscious wallpaper motifs with beautiful organic landscape scenes. It juxtaposes man-made life with that of the wonders of the natural world.  

Find out more about their work here:

Website | Seditionart | Bandcamp | Vimeo

The post Overlap appeared first on Audiovisualcity.

⁣ ⁣⁣ ⁣#repost @cyril_meroni⁣ ⁣__________________⁣ ⁣⁣ ⁣Advienne ....




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⁣#repost @cyril_meroni⁣
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⁣Advienne . ⁣
⁣Work in progress #audiovisual #performance ⁣
⁣@andrasnagy.xyz @yannchamp #notch #touchdesigner #millumin #laser #beyond #millumin #secondenature #drums #drumshow crédit photo: naïri
https://www.instagram.com/p/B9nCmzbJO6_/?igshid=1ns8wm8q67m6o

Madatac

Par Hayley Cantor

Madrid, 16th April – 3rd May, 2020

Madatac is a new media art, video art and audiovisual technology focused festival based in Madrid, Spain. It’s a veteran in the industry, celebrating it’s 10th year this year. The 2020 edition MadatacX will be celebrated 16th April – 3rd May and will include AV performances from the likes of Kenta Nakagawa, Franck Vigroux & Antoine Schmitt and the great Ryoji Ikeda.

Rather than following the common one price for all festival format, events take place over a longer period of time with various viewings and performances spread in nice little doses, great for busy audiences who are only able to attend a little at a time.

Chronostasis by Franck Vigroux & Antoine Schmitt

With an open philosophy, framed within a universalist, pedagogical and free access commitment, which places special emphasis on the innovation, originality, risk and poetics of audiovisual projects focused on the experimental art of new media, it has the aim to serve as a real, virtual and itinerant laboratory where artists can present their latest creations.

Find out more about the festival here:
Website | Instagram | Facebook | Twitter

The post Madatac appeared first on Audiovisualcity.

Presteigne Broadcast Hire North Expands Hire Desk

Par Manor Marketing

Crawley, West Sussex, 25 February, 2020 – Presteigne Broadcast Hire, a leading dry hire and total multi-location production equipment provider, today announced the appointment of Jane Skinner as Senior Hire Desk Co-ordinator. Reporting to Presteigne North Hire Manager Roy Gaterell, Skinner is based at the company’s northern office in Warrington, equidistant between Manchester and Liverpool. Skinner ...

The post Presteigne Broadcast Hire North Expands Hire Desk appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Checkout Hypertec’s Solutions At 2020 NAB Show Exhibit

Par Andres Benetar

  To live in the information age is to live in a time of substantial innovation and constant evolution. Nothing sums up this notion more than the 2020 NAB Show, which is all about progression and the evolution of the broadcast industry. With over 90,000 professionals who specialize in media, content, and technology attending, then ...

The post Checkout Hypertec’s Solutions At 2020 NAB Show Exhibit appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Mutek [ES]

Par Marco Savo

Barcelona, March 4-7 2020

MUTEK Barcelona marks 11 clicks around the sun on March 4-7, 2020, with 4 days and nights of live electronic music, audiovisual performances, professional activities and more.

After a decade of explorations and discoveries, the festival is preparing for a new era as a platform for dissemination and innovation in digital creativity with activities that will be developed throughout the year.

Maintaining the global commitment of the MUTEK international network to promote and create synergies with projects focused on diversity, gender equality and empowerment in the creative industry, in 2020, MUTEK.ES puts special emphasis on fostering spaces for artistic and professional formation, through different seminars and artistic residencies that will have their point of exhibition within the frame of the festival in March.

Characterized by its exceptional presentation standards and a curatorial approach that draws equally from international and national talent, always aiming to deliver revelation and discovery to our audiences, MUTEK Barcelona continues to operate in a human-scale, community-minded context.

Mutek ES 

Barcelona, Spain

LINK BOX

Website

Facebook / Twitter / Instagram / Vimeo

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RE – TEXTURED Festival

Par Marco Savo

London, 2 – 4 April 2020

RE-TEXTURED is a multi-venue, multi-sensory festival for London and the UK.

The festival explores the relationship between experimental electronic music, modernist and industrial architecture and light and visual art, and is brought to you by the team behind Krankbrother.

Krankbrother Director Danny Clancy says: “RE-TEXTURED at Tobacco Dock is our most ambitious show to date. It’s one of the few buildings in London that allows us to fulfill our ambitions across light, sound and visual art, it’s unique structures, rooms and history have inspired us to push the edge a little more.”

RE – TEXTURED

London, Various locations

info@re-textured.com

Website

Facebook / Instagram

The post RE – TEXTURED Festival appeared first on Audiovisualcity.

Colorfront Blows The Lederhosen Off 4K/6K/8K HDR at HPA 2020

Par Ron Prince

Colorfront (www.colorfront.com) – the Academy, Emmy and HPA Award-winning developer of high-performance dailies and transcoding systems for motion pictures, broadcast, OTT and commercials – will showcase the powerhouse capabilities of its products to enable color-consistent 4K/6K/8K SDR/HDR acquisition-to-post workflows during the 2020 HPA Tech Retreat, 17-20 Feb, Rancho Mirage, CA. The company will also participate ...

The post Colorfront Blows The Lederhosen Off 4K/6K/8K HDR at HPA 2020 appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Bogotrax

Par Marco Savo

Bogotà, 13-23 February 2020

Bogotrax 2020 is a matrix. It is the multiple matrix of a mycelium. A constantly expanding network. Its flowers emerge whenever an encounter (between hyphae) happens.

That is the experiment: to interweave a network of partnerships where organizers and public, actors and spectators jointly participate in the production of social space.

Bogotrax Festival has been taking place in Bogotá, Colombia, for 10 years. From 2003 onward, during the month of February. Ten days of parties and workshops; talks, conferences, performances, activities in different locations, street parades, activities in different local prisons, exhibitions, graffiti, “raves”. 

All this for free. Collectives and artists from different countries supported the festival with their participation. 

The festival was never meant to promote brands nor it was funded by any institutions. The festival rebellious self-managing spirit led it to program the end of its first life cycle. Bogotrax restarted itself with a relevant topic: “Only in case of emergency.”

Bogotrax

Bogotà, Colombia

bogotrax@hotmail.com

LINK BOX

Bogotrax

Facebook / Twitter

The post Bogotrax appeared first on Audiovisualcity.

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Zsuzsanna Rácz, actrice de motion capture : une bande démo et 6 ans de travail

Par Shadows

En admirant les cinématiques du studio Digic Pictures, on en oublierait presque le travail énorme qu’elles nécessitent. Outre une armée de spécialistes de l’animation, le studio fait appel à des actrices et acteurs qui maîtrisent parfaitement le processus de motion capture/performance capture.

Zsuzsanna Rácz est justement une de ces actrices, et elle vient de dévoiler une bande démo qui reprend 6 années de travail au service de Digic. On y retrouvera des extraits de ses performances et des cinématiques finalisées, mais aussi des images de ses entraînements : Zsuzsanna Rácz se doit donc de maintenir sa forme physique afin de pouvoir effectuer cascades, sauts et combats lors des séances de motion capture.

L’article Zsuzsanna Rácz, actrice de motion capture : une bande démo et 6 ans de travail est apparu en premier sur 3DVF.

Eufònic Urbà – Festival of Sound, Visual & Digital Performing Arts

Par Hayley Cantor




Eufònic is a sound, visual and digital-performing arts festival held in Sant Carles de la Ràpita about an hour South of Barcelona. As an extension of this annual festival, Eufònic Urbà, provides a city-based version of the festival, which sees exhibitions and installations at the Arts Santa Mònica, right in the very heart of Barcelona. Eufònic experiences can be found in, and not limited to; museum spaces, sound actions, activities for the family audience, and concerts in unique spaces.

This year, we will have the pleasure to explore the urban festival for an entire month – leaving us with no excuse for not absorbing some audiovisual culture this winter. From February 1 to 29, 2020, we can expect to enjoy artistic presentations, audiovisual performances and experimental proposals some of which have already been presented at the summer version of the festival on the mediterranean coast, as well as some new exclusive features, as well as presentation of the creative residences.

The festival is organised in two different phases.
The most punctual of the two being 7th–8th February with more one-off performances and timed events, such as AV performances and project presentations, with artists such as NSDOS, Sam Aaron, Balfa, Clara Brea, dvdv, William Luke Valerio, Jordi Salvadó and Tim Cowlishaw & Jakub Fiala.

“where the human presence is diluted in the responsibility of being cause or effect”

The longer duration part of the festival offerings involves Tonalitats afectives (Affective Tones in Catalan), an exhibition on the 2nd floor of Arts Santa Mònica, on Las Ramblas. It can be visited for a month (until February 29) and entrance is completely free. It focuses on the visions of six artists linked to the liquid gesture, the indeterminate process and involuntary creative will as tools of work and processes of reflection. Amongst the huge variety of installations, you will be able to find everything from changes in subject matter, algorithmic creations, and neobiological worlds, creating a discourse about a variety of scientific observations, such as memory of space and context, and objectivity and physicality.

Work includes projects by artists such as Navid Navab and Michael Montanaro, Kathy Hinde, Óscar de la Fuente, Sofia Crespo, Marc Vilanova and Raquel Meyers).

The post Eufònic Urbà – Festival of Sound, Visual & Digital Performing Arts appeared first on Audiovisualcity.

The Welcome Chorus – The voice of a community

Par Filip Visnjic
The Welcome Chorus – The voice of a community
Created by Yuri Sizuki (Pentagram) in collaboration with Fish Fabrications and Counterpoint, 'The Welcome Chorus' is an interactive installation that brings together sound, sculpture and artificial intelligence.

Mois Multi

Par Marco Savo

Quebec, February 5-9 2020

Mois Multi 2020 is an archipelago of artists who express themselves madly, humanly, in a gigantic and dazzling spasm of life.

In a nutshell, the 2020 programs revolves around things that collapse. A subject of undoubted importance in the current times which affects us in the private and political life. The spark for this edition came, among other things, from the APA office, which approached us almost a year ago to talk about collapse. A joyful bonfire was born from this desire.

This is an edition generated by an unstoppable youth that also leaves space to a wise and proud guard. It’s young, casual, punk and contemporary. Festival curator, Emile Beauchemin aims to program a diversity of humans, approaches, subjects and ways to approach this world that we are constantly trying to understand and reconstruct.

Mois Multi is a project created by Recto Verso whose mission is to support and promote the research, creation and dissemination of multidisciplinary and electronic arts. 

In every edition, MM programs aim to bridge the gap between artworks and public, offering an unique and accessible experience of the art and the world.

 

Mois Multi

650, côte d’Abraham

Quebec, Canada

Contact

LINK BOX

Mois Multi

See on the map

Facebook / Twitter

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Learn About Aberdeen’s Captioning and Language Services at 2020 NAB Show

Par Andres Benetar

  The broadcast community has a great deal of variety, ranging from areas such as captioning and language services, which only encapsulate a greater sense of diversity. A captioning giant like Aberdeen Broadcast Services successfully fills that need by providing both captioning and language services along with the additional custom video transcoding and digital file ...

The post Learn About Aberdeen’s Captioning and Language Services at 2020 NAB Show appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE.

Surface de contrôle LoupeDeck Creative Tool

Par LeCollagiste
Loupedeck CT

Dans un workflow vidéo moderne, une surface de contrôle arrive à point nommé, la Loupedeck Creative Control ou Loupedeck CT. Sur cette surface, on trouve un jog centrale tactile, 6 potards cliquables et crantés, pas moins de 20 boutons et 12 boutons tactiles. Une technologie intuitive pour les vidéastes, musiciens ou encore photographes.

Loupedeck CT est une sorte de Stream Deck, mais avec tout ce qu’il lui manquait. S’interface avec le système (Win/mac), les logiciels Photoshop, Lightroom, After Effects, Audition, Premiere Pro, Final Cut Pro, Ableton Live. A noter que Loupedeck a lancé un programme open source pour les développeurs tiers, donc messieurs de VDMX, Millumin, Resolume, Smode … a vos claviers.

Le Loupedeck est dispo à 499€

Loupedeck CT
Loupedeck CT
Loupedeck CT
Loupedeck CT

Surface de contrôle LoupeDeck Creative Tool est un billet de LeCollagiste VJ.
LeCollagiste VJ - Mag du LeCollagiste, actu sur la culture VJING, Vidéo Mapping, info video et high tech.

Intinor joins SRT Alliance

Par Manor Marketing

Umea, Sweden, 16 January 2020: Intinor, Sweden’s leading developer of products and solutions for high-quality video over internet, has joined the Secure Reliable Transport (SRT) Alliance. SRT is an open source video transport protocol that optimizes streaming performance across unpredictable networks, enabling the best quality live video to be transported over even the most questionable ...

The post Intinor joins SRT Alliance appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE.

Je sors acheter des cigarettes, un court doux-amer d’Osman Cerfon

Par Shadows

” Jonathan, douze ans, cohabite avec sa soeur, sa mère et aussi des hommes. Ils ont tous la même tête et nichent dans les placards, les tiroirs, le poste de télévision… “

Via ce pitch pour le moins atypique, le réalisateur Osman Cerfon nous propose de plonger au coeur d’un foyer agité et de suivre le jeune Jonathan, que l’absence de figure paternelle hante manifestement.

Le court-métrage est nominé pour les prochains César dans la catégorie Meilleur Court-Métrage Animé, et sa mise en ligne n’est que temporaire : ne tardez donc pas à le visionner.

Produit par Emmanuel-Alain Reynal and Pierre Baussaron – Miyu Production
Préachat Canal+ l CNC – Aide avant réalisation l CICLIC – aide à la production l
Région Auvergne Rhône-Alpes – aide à la production l Département de la Drôme –
aide à la production lValence Romans Agglo l Procirep-Angoa – Aide à la production
Casting : Sophie Laine Diodovic
Layout – Lucrèce Andreae
Décors : Darshan Fernando
Animation :
Capucine Latrasse
Rémi Schaepman
Quentin Marcault
Valentin Stoll
Stagiaires Animation :
Nan Huang
Mathilde Roy
Alexis Godard
Elie Martens
Ambre Texeira
Paul Wasilewski
Compositing : Mathieu Brisebras
Montage : Albane Du Plessix
Catherine Aladenise
Montage son : Pierre Sauze
Conseiller musical : Adélie Prod – Nathanaël Bergese
Studio enregistrement voix : Entreprise
Studio mixage son : Miroslav Pillon
Laboratoire : Média Solution
Assistante de production : Louna Colleuille
Musiques :
« MONTAGUES AND CAPULETS »
Interprété par Berliner Philharmoniker, Claudio Abbado
℗ 1997 Deutsche Grammophon GmbH, Berlin
Avec l’aimable autorisation d’Universal Music Publishing Film & TV
« STABAT MATER DOLOROSA »
Interprété Rinaldo Alessandrini
Composé par Giovanni Battista Pergolesi (Extrait de l’album « Stabat Mater»)
℗ 2004 naïve, une division de Believe
Avec l’aimable autorisation de Believe

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Zixi Recognized for Industry Excellence for its Software-Defined Video Platform and ZEN Master Control Plane

Par Denise Williams

Zixi, the industry leader for enabling dependable, live broadcast-quality video over IP, has been recognized with two industry awards: the Gold Award in the category of IP Broadcast Solutions – Distribution from Digital Media World, and a 2019 Product Innovation Award from TV Technology. The cutting edge Zixi Software-Defined Video Platform was named the Digital ...

The post Zixi Recognized for Industry Excellence for its Software-Defined Video Platform and ZEN Master Control Plane appeared first on NAB Show Las Vegas News | NAB Show 2020 Media Partner and Producer of NAB Show LIVE.

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