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Control Bazik with Touch OSC

Par bazik

What is TouchOSC ?

TouchOSC is a mobile app for iOS and Android. You can use it to control compatible softwares via your iPad or your iPhone. Your device become a cool remote for your desktop app.

What can I do with ?

As Bazik supports OSC, it allows you to control Bazik without being in front of your computer. In this tutorial, I’m using an iPhone, but it’s working with an iPad.

Select a color bank, modify parameters, shift, switch, break and play with preset pads. Get a complete control of effects part and active or unactive automation.

osc_control_01osc_control_02osc_control_03


How to setup TouchOSC ?

It seems tedious, but it’s worth it !

1. First, be sure your computer and your iPhone are on the same Wifi network. If you don’t have one around you, create it from your computer.

osc_01

2. Please install the TouchOSC app on your device.

3 .Download the special layout below.

bazik_osc_iphone 01

4. Copy this layout on your iPhone with iTunes. Get help on TouchOSC website.

osc_02

5. Launch TouchOSC, then choose this layout.

osc_03

6. Go to Connections / OSC and edit the Host adress.

osc_06

Your Host adress must be your computer adress on the network. To find it, go to your Network preferences and check your IP address. Be sure it’s your IP address in the same network than your device (wireless).

osc_05

7. Now launch Bazik, and open the Options panel.

osc_04

8. Copy the TouchOSC’s “Local IP address”…

osc_07

… and write it into Bazik’s OSC first big field.

osc_08

Now insert Ports Outgoing and Incoming (generally 5000 & 5001) in the small fields.

osc_09

9. Click “setup OSC” and go to the Controls panel. Try to change a parameter in Bazik or in TouchOSC : Now you can control Bazik with your Iphone !

Maybe Bazik is going to prevent you about incoming connexions. Please Allow that, so TouchOSC can send data to Bazik.


Why I can not make it work ?

You don’t have to be a expert, but run TouchOSC requires time and patience. Follow the steps quietly and you will succeed.

When I change something directly in Bazik, the remote is not update, why ?

OSC remote work in both directions. If you change a Fx value directly in Bazik, the remote must be update in realtime. If not, it’s probably a error with the remote adress in Bazik (check step 8).

Can I use TouchOSC in a place without WIFI access ?

Yes, you simply have to create a local network from your Mac and connect your device directly on it.

I have enter each address several times but it does not work, wtf ?

First, be sure your computer and your device are on the same network. And be sure you use the good IP address from your computer in this network.
With TouchOSC, sometimes, the Local IP address need time to be update if you just change your network preferences. Try to relaunch the app and check if the address has changed.
If you have a doubt with your Bazik configuration, try to use TouchOSC with another software and come back when it’s work, so you can understand what is the problem and solve it.

You can find more help on the TouchOSC website.

Resolume VJ Tutorial: Beginner VJ Loops Using Duplicate Effects

Par Ryan Dejaegher

Did you know that you can stack duplicate effects to create generative VJ Loops in Resolume? In today’s VJ tutorial we’re going to continue showing how beginners can create easy generative VJ loops using nothing but Resolume and it’s built in effects. Creating Your Own VJ Loops (Even If You Know Nothing About Animation) This tutorial […]

The post Resolume VJ Tutorial: Beginner VJ Loops Using Duplicate Effects appeared first on Zero To VJ.

Using Ableton Link to Sync Resolume 6 with DJs

Par Ryan Dejaegher

Resolume 6 Beta was released last week and it added an amazing feature, Ableton Link. This feature makes it really easy to VJs to quickly sync to DJs and use BPM synced visual effects. If you work with DJs you’re going to love this. Today I’m going to explain what Ableton Link is, how it works, […]

The post Using Ableton Link to Sync Resolume 6 with DJs appeared first on Zero To VJ.

Syncing Traktor with Resolume 6

Par Ryan Dejaegher

During a Facebook livestream on Zero To VJ someone asked a question about setting up Traktor with Resolume. …I was trying to get some video to auto-sync with Traktor through Ableton. I’d MIDI clock out of Traktor into ableton, and have a clip with 1/4 notes that would then BPM into arena. But, now, it […]

The post Syncing Traktor with Resolume 6 appeared first on Zero To VJ.

Resolume Tutorial: Remix Content with Alpha Channels

Par docoptic
Video Thumbnail

All things alpha channels are explained in this tutorial for Resolume Arena 4 & 5, and Avenue 4. You will learn how content with alpha channels work, along with some of the advantages of using single element loops such as shapes. Techniques to create variations from your existing alpha content are explained, specifically shapes and formations using the Kaleidoscope and Iterate effects.

This tutorial also goes step-by-step to show you ways to create versatile backgrounds using a mix of Transform properties and various effects such as VideoWall and Mirror. Backgrounds that are easily customizable and can further extend the use of your existing content.

The methods outlined allow you to add remixed content to your collection easily using the power of Resolume. Some of these techniques work well with non-alpha content so be sure to try them out to get the most out of your library.

→ View Shapeshifters for 50 looping shapes with alpha channel

The post Resolume Tutorial: Remix Content with Alpha Channels appeared first on DocOptic.

GrandVJ Tutorial: Basics to Mixing Live Visuals

Par docoptic
Video Thumbnail

This tutorial is all you need to get started mixing live visuals with ArKaos GrandVJ & GrandVJ XT. All the fundamental features are explained such as layers, copy modes (blending modes), transitions, faders, effects, and triggering visuals sourced from HAP encoded video files.

The interface and its functions are explained in-depth, with a focus on getting started quickly. All basics are covered, you will be able to load visuals, create layered compositions, and have your visuals ready to be displayed to an audience on an external display after viewing this training for version 2.3+ of ArKaos GrandVJ (and XT).

The post GrandVJ Tutorial: Basics to Mixing Live Visuals appeared first on DocOptic.

Resolume 6 Tutorial: New Workflow Features

Par docoptic
Video Thumbnail

This Resolume Arena & Avenue 6 tutorial brings you up to speed with some of the most useful new features of this latest and greatest version of Resolume. Aside from the speed and performance improvements, you will learn how to customize the interface, use layer mask mode, create custom thumbnails, make use of the improved effects interface, animate with envelopes, utilize persistent clips, use fader start to trigger clips, display FFT gain directly on the interface, create smarter shortcuts, and learn about some other small interface tweaks to make you a more efficient VJ.

The post Resolume 6 Tutorial: New Workflow Features appeared first on DocOptic.

#UX180/90: un look cinéma pour vos images, en 2mns et en vidéo

Par Webmaster Panasonic

Nouveau tuto sur la série de caméras UX180/90: il s’agit d’apprendre à donner un rendu plus cinématographique à vos images. Vous apprendrez:
– A utiliser les courbes Cine_D pour obtenir une image « plate » avant étalonnage.
– A vous servir du couple ouverture/longueur de focale pour réduire la profondeur de champ.
– A paramétrer la fonction Focus Transition pour faire le point automatiquement entre deux valeurs.

Plus d’informations sur ces camescopes 4K baroudeurs ici.

Exposition : toutes les règles expliquées

Par Sébastien François

L’élément principal pour produire des films qualitatifs, c’est ce qu’on appelle l’exposition. Il est important de comprendre ce qu’est une « bonne exposition » , pour éviter les images « cramées », « sur-ex » ou « sous-ex ». Contrairement aux idées reçues, tout n’est pas rattrapable en post-production.

Pour cela, limitons d’abord le concept à deux points :

L’exposition, c’est la quantité de lumière atteignant le capteur, et ce, pendant une certaine durée.

L’art d’obtenir une bonne exposition est donc celui de contrôler cette quantité de lumière.
Pas assez de lumière? Vous aurez une image bruitée, plate et avec du grain. Trop de lumière? Vous obtiendrez une image délavée et agressive. Dans les deux cas, vous aurez perdu un grand nombre d’informations sur l’image que vous avez enregistrée.

Pour contrôler l’exposition, 4 outils: l’ouverture, le vitesse d’obturation, le filtre neutre (ND) et le Gain (ISO)

1. Le plus important est l’ouverture de l’optique (ou « iris »). C’est un cercle dans l’optique, de taille variable, à travers lequel la lumière passe. La taille de l’ouverture est connue sous la valeur « f ». Paradoxalement, plus cette valeur f est basse plus le trou est grand (comme dans f/2.0 par exemple), laissant passer beaucoup de lumière. A l’inverse, plus le trou est petit et plus la valeur f est élevée (par exemple f/11), laissant passer peu de lumière. C’est ce qu’on appelle le diaphragme en photographie. L’ouverture a aussi une incidence sur la profondeur de champ. Plus l’ouverture est grande, plus la profondeur de champ est réduite, c’est à dire que la zone où le sujet est au point est restreinte. Les optiques n’ont aussi pas les mêmes performances à toutes les ouvertures: elles peuvent perdre du piqué, produire des aberrations chromatiques… C’est en général de f/2 à f/5.6 que les performances sont les meilleures.

2. La vitesse de l’obturateur (shutter speed) contrôle la durée pendant laquelle la lumière est autorisée à entrer dans l’optique. Plus le shutter et lent, plus la lumière « reste » (et rentre en quantité si l’on peut dire), mais plus un sujet mobile sera flou.

vitesse d'obturation comparée

Attention, en film (et pas en photo), on va très peu jouer sur ce paramètre car il affecte le rendu de l’image. En effet, imaginons que vous ayez beaucoup de lumière, mais que vous vouliez garder une grande ouverture (pour avoir un joli flou artistique derrière le sujet). Vous allez donc être tenté d’augmenter le shutter (1/200ème par exemple) pour éviter de cramer vos images: vous risquez d’obtenir une image qui scintille, et un rendu très « clinique » (tous les mouvements sont ultra nets). La règle donc à appliquer en général est celle des 180d (degré). C’est à dire, utiliser un shutter fixé au double de votre cadence d’enregistrement: exemple, vous tournez en 4K/25P, votre shutter sera au 1/50ème (2×25). Alors, que faire pour avoir une image bien exposée avec une grande ouverture et sans toucher au shutter?

3. C’est ici qu’intervient le filtre à densité neutre (ND). source - WikipediaC’est est un peu comme une paire de lunettes de soleil mais sans effet secondaire (changement de couleurs, polarisation, etc). Ils sont utilisés dans les situations très lumineuses comme lors d’une journée très ensoleillée. Ce filtre (qui est fixe par pallier, ou variable), va donc permettre de compenser la surexposition sans toucher ni à l’ouverture, ni au shutter. Une EVA1 dispose de 3 filtres ND intégrés par exemple.

 

4. Le Gain ou les ISO. le double-iso natif de PanasonicNous voici dans la situation inverse. Que faire quand on est « ouvert » à fond, sans filtre ND et que l’image est sous-exposée? La seule manière est alors d’utiliser une amplification électrique du signal derrière le capteur. En « boostant » le signal, on arrive à compenser le manque de lumière. Mais cela a un prix: l’ajout de bruit à l’image (ce fourmillement assez peu esthétique).  C’est pourquoi Panasonic a inventé le double ISO natif afin restreindre ce bruit à l’image.

C’est en jouant sur ces 4 paramètres (ou plutôt 3 si on ne touche pas au shutter), que vous obtiendrez une bonne exposition.

 

 

L’article Exposition : toutes les règles expliquées est apparu en premier sur Createinmotion.

Possible Worlds: Attraction

Par Eva Fechten

This is a demo of ‘Possible Worlds’: an immersive video project created for 360 / full dome environment. I created different worlds, objects and graphics that I can merge together in real time. These are loops that can be mixed live in a real dome with Vjing software. It’s an immersive VJ set and I wanted to show you how I can play live with my different elements.
This video is a screen recording of myself exploring ‘Possible Worlds’ in an application made by The Society for Arts and Technology. ‘SATDomePort’ is a software that allows you to experience your full dome content in real time.
satdomeport.com/
I am also using ‘Resolume Arena’ to VJ inside this virtual dome. Resolume offers the DXV Quicktime codec that let you work effortlessly with a lot of layers and high resolution video such as this project: 2048×2048
resolume.com/software/
‘Possible Worlds’ was performed for the first time in Montreal at SAT in 2015, January 17th for the album launch of Moses Baxter.
Click the link below to watch ‘Possible Worlds’ for real.
vimeo.com/124372905
If you want to learn more about the project visit my website:
push1stop.com/possible-worlds/
You can also watch more demos here:
vimeo.com/124153776
vimeo.com/124252290
Very special thanks to the expertise of SAT who made this ‘Possible’. The organization has created the first immersive modular theatre, dedicated to artistic creation and visualization activities. They trained me and gave me the opportunity to perform and create within the dome. They are amazing, visit their website:
sat.qc.ca/en/satosphere

Music: Dam Mantle – Spirit
Visual: Push 1 stop

The post Possible Worlds: Attraction appeared first on Video Mapping Blog.

MWM and Resolume – 3D Video Mapping Demo

Par Eva Fechten

In this demo I model a basic pyramid in Cinema 4D and then export the object as an OBJ into MWM. Then with Resolume via Syphon mix video footage onto the UV mapped pyramid all in realtime.

Project files can be downloaded on my website:
http://goo.gl/KFmlJF

The post MWM and Resolume – 3D Video Mapping Demo appeared first on Video Mapping Blog.

Cinema 4D Vertex mapping and texturing

Par Eva Fechten

Video Tutorial: Cinema 4D R12
Vertex mapping is used to texture object even without uv mapping. (Narrated in Japanese)

頂点マップによるテクスチャリングのビデオチュートリアルです。

The post Cinema 4D Vertex mapping and texturing appeared first on Video Mapping Blog.

Choreographing A Fight Scene With A Hollywood Stunt Man

Par Robbie Janney

Trying to pull off a realistic fight scene? Learn from a professional stuntman how to choreograph a fight sequence and translate those stunts to the camera. If ...

15 FREE Lower Thirds for Your Next Project in Premiere Pro

Par Logan Baker

We're giving away 15 free lower thirds templates for Premiere. Download them now and easily customize them to fit any video project.

Resolume Tutorial: Remix Content with Alpha Channels

Par docoptic

All things alpha channels are explained in this tutorial for Resolume Arena 4 & 5, and Avenue 4. You will learn how content with alpha channels work, along with some of the advantages of using single element loops such as shapes. Techniques to create variations from your existing alpha content are explained, specifically shapes and formations using the Kaleidoscope and Iterate effects.

This tutorial also goes step-by-step to show you ways to create versatile backgrounds using a mix of Transform properties and various effects such as VideoWall and Mirror. Backgrounds that are easily customizable and can further extend the use of your existing content.

The methods outlined allow you to add remixed content to your collection easily using the power of Resolume. Some of these techniques work well with non-alpha content so be sure to try them out to get the most out of your library.

→ View Shapeshifters for 50 looping shapes with alpha channel

The post Resolume Tutorial: Remix Content with Alpha Channels appeared first on DocOptic.

GrandVJ Tutorial: Basics to Mixing Live Visuals

Par docoptic

This tutorial is all you need to get started mixing live visuals with ArKaos GrandVJ & GrandVJ XT. All the fundamental features are explained such as layers, copy modes (blending modes), transitions, faders, effects, and triggering visuals sourced from HAP encoded video files.

The interface and its functions are explained in-depth, with a focus on getting started quickly. All basics are covered, you will be able to load visuals, create layered compositions, and have your visuals ready to be displayed to an audience on an external display after viewing this training for version 2.3+ of ArKaos GrandVJ (and XT).

The post GrandVJ Tutorial: Basics to Mixing Live Visuals appeared first on DocOptic.

Resolume 6 Tutorial: New Workflow Features

Par docoptic

This Resolume Arena & Avenue 6 tutorial brings you up to speed with some of the most useful new features of this latest and greatest version of Resolume. Aside from the speed and performance improvements, you will learn how to customize the interface, use layer mask mode, create custom thumbnails, make use of the improved effects interface, animate with envelopes, utilize persistent clips, use fader start to trigger clips, display FFT gain directly on the interface, create smarter shortcuts, and learn about some other small interface tweaks to make you a more efficient VJ.

The post Resolume 6 Tutorial: New Workflow Features appeared first on DocOptic.

Free Practical Lighting Techniques for a Cinematic Look

Par Zach Ramelan

You don’t need an expensive lighting set up to get a cinematic look. Here are some simple tips to make dramatic lighting with household practicals.

Lens Review: How To Shoot Anamorphic with The Atlas Orion Lenses

Par Todd Blankenship

Anamorphic lenses yield arguably the most inherently cinematic images. Now, thanks to Atlas Lens Co. and others, they're becoming more accessible.

What Else Can You Do with Your 360° and VR Video Footage?

Par Charles Yeager

Do you dislike 360 and VR video? In this video tutorial, we'll show you how to get creative with some alternative uses for these formats.

4 Iconic Music Video Production Effects You Need to Know

Par Robbie Janney

Are you getting ready to record a music video? Try out any these four effects to add some style and texture to your production.

Which Camera Movement Should You Use — and When and Why?

Par Zach Ramelan

From expansive dolly moves to intimate handheld shots, there's a range of camera movements for every shot. But which one works best for the story?

How to Create a Scribble Animation in After Effects

Par Jason Boone

So you think frame-by-frame animation is just too tedious for your film or video project? In this tutorial, we invite you to think again.

8 Flight Tips to Make Your Drone Footage More Cinematic

Par Zach Ramelan

Drone footage is everywhere, so how do you capture cinematic shots to make your project stand out? Check out our favorite tips in this video tutorial.

Video Tutorial: How to Get Started Creating Stop-Motion Video

Par Jason Boone

In this video tutorial, we’re going to step into the wonderful world of stop-motion animation with a simple paper crumple.

7 DIY Filmmaking Hacks: Creating New Lights to Building Your Own Hi-Hat

Par Logan Baker

In this video tutorial, we've rounded up seven quick-and-easy camera and lighting builds to expand your filmmaking arsenal.

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