Earlier this month we produced the 24th Annual Our Heroes Luncheon for Sykes Enterprises, Inc. Foundation. It was another successful year, filled with emotion and compelling tributes to Hillsborough County’s first responders. With rave reviews from our client; audience members complimenting on a job well done, and so many saying “this is the best year […]
VJ Fader started his VJing career while he was studying art in California. Now he’s based in Berlin, working on a new marketplace for visual artists all over the world. Also, James compares popular festivals, shares his most memorable live mixing experience, and fantasizes about the nearest future of VJing. Don’t miss this conversation! Lumen: […]
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April 2018, Carrara, QLD – Australia
For the opening and closing ceremonies of the Gold Coast 2018 Commonwealth Games, The Electric Canvas, an award-winning Australian company specialized in large-scale projections, managed the AV projection relying on Modulo Pi’s high-end media server: Modulo Kinetic.
The 21st Commonwealth Games took place in April 2018 at the Carrara stadium in Queensland, Australia. Produced by Jack Morton Worldwide, the opening and closing ceremonies were spectacular shows with 4.000 volunteer performers. Combining theatre, dance, and music, the shows were created to reflect the Gold Coast culture, embodying its spirit and its energy.
After winning the tender, The Electric Canvas prepared the event over 6 months. To achieve such a large-scale video projection in the stadium, they chose 20 x Christie Boxer projectors, as well as Modulo Kinetic, a powerful media server with advanced features from Modulo Pi.
Peter Milne, Director of The Electric Canvas, explains: “I’ve been involved with Yannick Kohn – founder of Modulo Pi – and his technology for nearly 20 years now. When he launched Modulo Pi in 2010, we were very keen on adopting his latest system, Modulo Player”. Recognized internationally as a leader in large-scale and architectural projections, The Electric Canvas has relied on Modulo Player for several years now: “We use Modulo Player on many projects because we really like the X-map among other features.”
When entering the bid for the Gold Coast 2018, Milne chose Modulo Kinetic, Modulo Pi’s new media server solution: “We were very excited when Modulo Kinetic was launched, and now we have quite a lot of Modulo Kinetic servers. In fact, when we proposed Modulo Kinetic to the Commonwealth Games, we only had a few months experience with it. That was possible because we trust Modulo Pi when it comes to this type of software development. We were sure that their technology would be reliable and solid because of our previous experiences with Modulo Player.”
Working closely with the content producer, The Electric Canvas designed the projection overlay which determined how to cover the field of play, and how to project the other elements efficiently, while providing maximum creativity.
The main video projection was a visualization of Earth and its history, projected on the stadium playfield. This came with several challenges: “We had to put the 20 video-projectors at a height of 67 meters above the ground in the sports lighting towers. We did this because the stage was covered with sand, so there would have been a lot of unwanted texture, had we projected from a normal setting position. Especially as the sand was being constantly disturbed by the performers. Putting projectors so high was a difficult thing to do, particularly for technicians, who had to climb more than 200 steps every day to get to the top of the towers. But it was all worth it in the end, as the resulting image quality was very good” comments Peter Milne.
To handle all necessary changes, the flexibility in the video-projection programming brought by Modulo Kinetic was a must for both ceremonies of this major event: “Ceremony production is a very unique process. There are changes in the choreography or content every day, so you have to have a very flexible system to be able to cope with those changes and incorporate them, sometimes even within the same rehearsal.”
In a time-critical context, The Electric Canvas’ operators made the best of Modulo Kinetic’s capability to preview the show in 3D: “During the day, when we don’t have the benefit of darkness, we can run the show from the recording of the previous evening, using video of the rehearsal, to then further fine-tune the programming of the projection.”
The show also included 3D mapping on Migaloo, a 30 meters long inflatable white whale, handled by 12 puppeteers. The whale floated into the arena, with content projected onto it after it reached its final position. The projection on the whale then transferred to the field of play at the end of the sequence.
The show video was synchronized to timecode, which was delivered with the music, but sometimes had to run independently from the timecode, as Milne explains: “In the case of having to hold entries and exits by the cast, or other unplanned factors, you need programming strategies, creating loops in the content so you don’t have any unexpected result in the picture when the timecode stops, or when something unexpected happens in the show. There are a lot of media servers who don’t cope with this very well. Having a strategy whereby you can, at some point in the music, ignore the timecode, allowing the music to stop and to loop, waiting for something else to happen when there’s a mechanical breakdown on the field, or when somebody falls over, is crucial. These contingent loops are a major and important part of these live shows, so having a system like Modulo Kinetic that deals with those contingencies, in a very fluid and flexible way, is essential.”
Operators could also rely on the backup capabilities of Modulo Kinetic: “On a show this size, you have many departments involved, with everybody running from the timecode. One other important feature of Modulo Kinetic is the automatic reversion to back-up systems, should we have a computer problem or failure. That is also something Modulo Kinetic is good at.”
In the end, the projection was impressive and looked very good in both ceremonies, with The Electric Canvas receiving lots of positive comments. About the utilization of Modulo Kinetic on this international multi-sport gathering, Milnes concludes: “It was reliable, flexible, and easy-to-use in a situation that can sometimes change dramatically every day. The Modulo Pi media servers are very specifically built for technicians and for the creatives that do the type of work that we do. Because the Modulo Pi team listens to technicians and creatives that work on projects, they modify and improve their software specifically on that feedback. For us, that’s an enormous advantage compared to other much larger companies.”
The Electric Canvas
Marcelo Vidal lives and works in Montevideo, where people don’t really care about media art. But our hero managed to create his video mapping company, develop the field from a scratch, play with Ricardo Villalobos and visit a lot of international festivals. In this interview, Marcelo describes the most important steps in his career and […]
The post First and Only Video Mapping in Uruguay and How to Project Onto Rocks appeared first on LUMEN.
Bio Ritmo (Roberto Montiel) is an iconic character from the international VJing community, who’s truly passionate about visuals and their meanings. Luckily for Lumen, Roberto was very open to share stories and insights on his audiovisual education, partnership with LPM festival, baby project Medusa Lab, sources of inspiration, local shamanic practises, possibilities of AI, and […]
The post Everything You Need to Know About Mexican VJing: From Market Features to Powers of Ayahuasca appeared first on LUMEN.
Pradeep Mohan came from Chennai, India to become one of the moving forces of commercial VJing in Dubai. Working in the big event management company, this guy knows how things work inside out. Keep reading to learn from his experience! Lumen: You’re a video engineer and it sounds extremely cool but could you please describe […]
Yochanan Rauert a.k.a Yo Yochi knows how things work inside the international VJing community. In this interview he opens the secrets of successful networking, shares his software story, recommends the best sources of new media art related information, gives a brief yet ultimate guide on glitch art for beginners and so much more. Continue reading! […]
The post How to Start Experiments with Glitch and Why VJs Occupy Churches appeared first on LUMEN.
France 3 teste ce dimanche 8 avril 2018 la caméra Superloupe® sur une des 8 motos du Paris-Roubaix, une première pour une épreuve cycliste, a annoncé la chaîne samedi. Développée par la société aixoise DVS (Euromedia France), la Superloupe® permet de filmer des ralentis haute vitesse qui révèlent « des choses qu’on n’a jamais vues avant », a…
La caméra Superloupe allégée sur le départ du Paris-Roubaix 2018.
… déclaré le réalisateur de l’épreuve (et du Tour de France) Jean-Maurice Ooghe. Nombre de détails pourront ainsi être visionnés à l’écran comme la tension des muscles, l’expression des visages, la déformation des roues sur les pavés… La caméra a déjà été utilisée sur des matchs de football, du tennis ou sur l’arrivée du Tour de France mais principalement en mode filaire. Sur le Paris-Roubaix, elle permet de filmer des ralentis à 300 images/sec. en HD et liaison sans fil (HF). La caméra avait déjà été testée sur une moto en 2014 lors d’une épreuve cycliste pour France Télévisions mais s’était avérée trop lourd pour le caméraman. Aujourd’hui, elle revient en mode allégée sur le Paris-Roubaix grâce au transfert d’une partie de
Une partie de l’électronique de la Superloupe déportée dans la sacoche d’une moto.
l’électronique (BPU) dans les sacoches de la moto. Cette Superloupe® pourrait être adoptée sur le Tour de France dès cette année si son utilisation est satisfaisante, selon Jean-Maurice Ooghe, et si elle est validée avec les partenaires de l’opération: ASO, organisateur du Paris-Roubaix et du Tour de France, et DVS.
Interview d’Aram Novoyan, fondateur de Digital Vidéo Sud (DVS) et inventeur en 2004 de la Superloupe® :
Aram Novoyan : Les premiers tests réalisés en 2014 pour France Télévisons étaient très réussis d’un point de vue technique avec l’assurance d’un apport éditorial indéniable mais la caméra était encore trop lourde pour être exploitée pendant 6 heures par les cameramen du tour.
Sans compter que la prise d’antenne se fait de plus en plus tôt ces deniers années ..
Nous étions donc résignés car gagner 2 kg nous paraissait impossible en gardant le niveau de fiabilité indispensable pour une telle épreuve.
D’autre part nous souhaitions aller vers la 4K ce qui rendait le challenge impossible.
Aram Novoyan: Notre client France Télévisions ne nous a pas lâché et nous a encouragé à travailler le projet. Au final nous avons trouvé la solution en déportant une partie de l’électronique dans un BPU afin de l’intégrer dans une des sacoches moto.
Les contraintes furent nombreuses le développement et la fabrication du prototype furent longs mais aujourd’hui nous sommes prêts.
Roubaix est un excellent test pour éprouver la solidité des équipements.
Tournée “La fête est finie”
IAIA | Institute of American Indian Arts in New Mexico, USA, 2015 Fiske Planetarium – University of Colorado Boulder in Colorado, USA, 2015 BioInspire is an A/V dome performance which has screened in the Institute of American Indian Arts(New Mexico, USA) and Fiske Planetarium – University of Colorado Boulder(Colorado, USA). Artificial neural networks(ANNs), a largely […]
Lines is an abstract architectural mapping show which took place on the facade of the Palace of Parliament in Bucharest, which is the second largest administrative building in the world, with usage of more than 104 projectors over 2.000.000 ANSI lumens, on 23.000 square meters of projection surface. It has been billed as the biggest projection […]