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 […]
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 […]
Tournée “La fête est finie”
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.
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.
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 […]
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.
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.
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
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: […]
The post VJs on Burning Man, New Platform for Visual Artists and How to Dream Big in Small Towns appeared first on LUMEN.
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 […]
By Cylie Svartoien When you have a local repeat event with a consistent audience, it’s easy to get comfortable and rely on tactics that have worked before. However, if you want to keep your audience’s attention and attendance, it’s critical to revamp, refresh and rejuvenate your show. Last week at the Heroes Luncheon in Tampa, […]
By: Cylie Svartoien, Marketing Specialist, Kingham Signature Events Set the stage – can everyone see the action? Cue the lights – what are you spotlighting? Design the set – what atmosphere are you going for? Can you feel the excitement buzzing in the air? Your milestone event is theater in live action. Except, you don’t […]
Front Pictures‘ audition on America’s Got Talent 2018 consisted of performing a videomapping routine while detailing a story of a person who must escape a video game.
D-brane is the story of a creation outgrowing its creator. The performance is the culmination of dance, real time projection mapping and live audio synthesis. A software system was built specifically for this project allowing the dancer to have direct gestural interactions with the visuals and audio in real time. The dancer wears a tracking device and interacts with a suspended dodecahedron. The dodecahedron is also tracked and projected as it moves. An analog patch based audio synthesis sonifies the motions of the dancer using the live tracking data. HTC Vive tracking is used for motion tracking. All real time graphics, tracking and projection is done in Touchdesigner.
Performer: Kathryn Florez fullstopdance.weebly.com/
Director: Harvey Moon HarveyMoon.com
Story and Art Direction: Qianqian Ye qianqian-ye.com/
Sound Artist: Cullen Miller pointlinesurface.com/
Technical Support: Colin Parsons robot.yoga/
Equipment and space – Obscura Digital
LUCID from GMUNK on Vimeo. London tech startup Flying Screens lets director/innovator GMUNK loose with their new drone screens to produce this piece of performance art called “Lucid” featuring UK dancer ZAKIYA. From GMUNK: “‘Lucid’ is at the forefront of a new medium in digital performance art, utilizing emerging unmanned aerial vehicle technology to create […]
Sonic Acts was founded in 1994. Over the years, it has established itself as a thematic festival with a strong focus on contemporary and historical developments at the intersections of art, technology, music, and science.
Each festival edition explores the chosen theme by means of an international conference, a wide range of concerts and performances, exhibitions and screenings, and embraces a broad spectrum of fields, practices, and disciplines.
Sonic Acts has developed into an organization for the research, development, and production of works at the intersection of art, science, and theory. It also commissions and co-produces new works, often in collaboration with international festivals, arts organizations, funders, and other partners.
Recent projects include the three-year art, research & commissioning project Dark Ecology, predominantly taking place in the Arctic region, and its globally touring programme Vertical Cinema.
Amsterdam, the Netherlands
BERLIN, 28 January – 01 February 2020
Transmediale is a Berlin-based festival and year-round project that draws out new connections between art, culture, and technology. It considers technology as being more than the digital world and the cultural as being more than what emerges from within institutionalized fields of production.
The formats of the festival change from year to year as Transmediale tries to foreground the intrinsic link between trans-disciplinary thinking and cultural practice.
Inspired by the pre-Internet idea of networks, transmediale 2020 – End to End focuses on both forgotten and potential futures with and without networks. Leaving behind a decade marked by a backlash against the Internet and the network society, transmediale aims at a comprehensive re-evaluation of networks and their limits. The exhibitions runs until the 1st of March.
The exhibition and the conference program is curated by artistic director Kristoffer Gansing with supporting advice from Clemens Apprich, Daphne Dragona, Geert Lovink, and Florian Wüst, all of whom will also be responsible for different program items.
Klosterstraße 68D – 10179 Berlin
Liquid Architecture is an Australian organization for artists working with sound. LA investigates the sounds themselves, but also the ideas communicated about, and the meaning of, sound and listening.
For this program, they are collaborating with artists who work at the intersection of theory and live performance. These artists use various strategies to extend vegetal thinking into sound and listening, from guided walks, talks, readings and lecture performances to experimental music, installation, herbalist pedagogy, and folk songs.
This program, Why Listen, proceeds from these questions as it attempts to open up the act of listening in social, scientific and political space. It is an inquiry into both the consensus constructing communication—and, indeed, creating communicators—and an attentiveness to the vitality of voices beyond the conceptual.
‘Interference’ literally means meddling, intervention, disturbance.
Interference Festival 2018 – 5th Festival of Visual Communication, it’s a one-of-a-kind event in the Pomeranian District which the main target is to popularize visual arts. The festival is focused on international short visual forms’ overview and on the Contest ‘Freedom of Form’ which the main aim is to emerge the best artists in categories Found Footage, Music Video, Creative Advertising Piece, and Experimental Short Visual Form
Visuals, music videos, teasers, creative advertising forms, jingles and video art, experiments on the border of art – that is what you’ll see during one of the most interesting events of the kind in Central Europe. Interference Festival equals a new, unconventional form of the open-minded festival in which one the most important aim is to discover and to look for the best video avant-garde artists.
Last but not least, there is VJ Battle coming during which the best 8 Vjs will compete on the screen. The main festival points during the fifth edition of the festival will be at the Academy of Fine Arts, Pionowa Gallery, and the Gdańsk Shakespeare Theatre.
AV Link Jam / BYOB was organized by Crux, the hub for learning, experimenting, collaborating and entertaining, on Thursday, November 15th, 2018. It was their second edition and free for everyone who wanted to join.
When you entered the space, it all seemed very open and chill. People were drinking beer, talking to each other, walking around and admiring the people’s work. Almost every wall had a beamer projection on it. It was very diverse which made it refreshing. You weren’t looking at the same thing at every wall. Every minute it’d change so even if you’d be watching the same projection, you wouldn’t look at a video that was on a loop.
Because it was a free event, the genuinely passionate artists show up. It looked like a community, people know each other and talk about the same topic. When you would talk to the artists about their projection, you could see the fierce enthusiasm they had for it.
The soundtrack worked really well with the atmosphere. Many different things were going on at the same time but the music helped to keep you focused.
All and all, it was quite mesmerizing and hypnotic. It kept your eyes stuck on the all the projects you were seeing. It all moved fast, had bright colors, and had recurring movements. It’s a very fun night where you can chat and check out new and different artists. A good concept!
L’Aubaine started performing live visuals in 2005 while studying a master in Digital Arts in Barcelona. From her study, she got interested in real-time performances and exploring different forms of narrative.
All elements she uses in her work are self-produced, mixing different techniques, analog and digital, as hand-drawn animations, 2D and 3D animations, graphical elements, photography, and videos. Her creations have that handmade feel, imperfect, bold and very colorful. Laurie crafted her unique style over the years by superimposing layers, interlinking shapes, and colors, mixing elements from different techniques in an unusual and elegant way.
Her VJ sets are evolving compositions, audio-reactive, created live and flowing with the crowd and the music. Each set never look the same, she shares emotions, playfulness and she feels like a painter and his canvas. She is since 2015, part of VJ London, organizing monthly meet-up & showcase and bigger events with interactive installations and AV performances with artists based in the London area and international.
Covarrubias received a Bachelor of Music Composition degree in 2006 from the National School of Music at the UNAM in Mexico City. She earned a Master’s degree in Musicology, Creation, and Society in 2010 from the University of Paris 8 (France), where she specialized in Computer-assisted composition and Ethnomusicology.In 2016, she received a Ph.D. degree in Esthetics, Science and Technology of the Arts from the University of Paris 8.
Sabina has also studied and trained to program with languages such as Java and C++, among others, at the National Polytechnic Institute in Mexico. She studied “Mastering Techniques” at Berklee Music College. Today she is an associated researcher of the CICM (Centre d’Informatique et Création Musicale), Paris, France; besides, she is part of the SNCA program (Art Creators National System) from Mexico, for this program, she is composing acousmatic, octophonic music, financed by FONCA.
Her works encompass a wide array of genres, which have been shown in highly renowned concert halls and festivals in Mexico, the United States, and France. Performances of her compositions have taken place in the International Festival for Women in Art in the Palacio de Bellas Artes in Mexico City and in the International Forum of New Music Manuel Enríquez in Mexico City.
Nick Verstand (1984) is a contemporary artist exploring human behavior and perception through spatial audiovisual compositions. His autonomous installations and live performances investigate the materialization of internal emotional experiences and are created through collaborative design processes aimed at breaking down social boundaries.
The resulting intuitive experiences, co-creations of artist and audience, generate a hypnotizing environment for the subconscious mind.
Nick has exhibited and performed at Stedelijk Museum Amsterdam, Dutch Design Week, Art Central Hong Kong, SXSW and collaborated with artists such as Fatima Yamaha, Joep Beving and Suzanne Ciani. Dezeen selected his project AURA as one of the top 10 art installations of 2017, alongside Olafur Eliasson, Ai Weiwei, and Anish Kapoor.
NONOTAK studio is the collaboration between the illustrator Noemi Schipfer and the architect musician Takami Nakamoto. Commissioned by the Architect Bigoni-Mortemard to create a mural in the lobby of a public housing building in Paris, NONOTAK was created in late 2011.
In early 2013, they start to work on light and sound installations, creating an ethereal, immersive and dreamlike environment meant to envelop the viewer, capitalizing on Takami Nakamoto’s approach of space & sound, and Noemi Schipfer’s experience in kinetic visual.
They presented their first audiovisual installation at the Mapping Festival in May 2013. In summer 2013, NONOTAK comes up with a performance, LATE SPECULATION, where they are the creators and contents of the project.