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À partir d’avant-hierVideoMapping VJing

NDI HX Camera (iPhone) with OBS (Mac OS 10.15.4)

Par skr
I´ve just installed NDI HX Camera and want to use it as Input source for OBS Studio 24.06.

The only way I figured out to get the stream into OBS Studio is by launching NewTek NDI Video Monitor 3.1 (28) and then choose "Window" as source for OBS. That works fine so far, but I wonder, if there is a way to get the stream directly into OBS, without using Video Monitor?

Elektra Festival: Open Call

Par Marco Savo

Deadline: 1st June 2020

Since it first opened in 2019, the ELEKTRA Gallery regularly hosts exhibitions. Located in the heart of the Mile-End, this new venue supports the artistic community, focusing on originality and embracing contemporary aesthetics in research and experimentation.

www.audiovisalcity.org/elektra

This is a call for projects for digital contemporary artists who wish to exhibit works between September 2020 and June 2021. The selected projects will be part of the gallery’s official program.

To submit an exhibition proposal, please send the following elements to zhamila@elektramontreal.ca:

  • Artists’ curriculum vitae
  • Description of the project and the artistic approach (maximum 2000 words)
  • Technical rider of the artwork
  • Up to 10 images and/or videos of your art project or closely related projects

The gallery offers professional technical assistance to set-up and has limited but high-quality equipment. Works with audio content can only be presented with headphones.

ELEKTRA pays artist fees for each selected exhibit.

The ELEKTRA Gallery is located at the Pôle de Gaspé at 5445 avenue de Gaspé #104, Montréal, QC, H2T 3B2.

READ MORE

The post Elektra Festival: Open Call appeared first on Audiovisualcity.

"Secure" NDI Streams

Par joshmarcik
Looking for a way to limit what a user can see in Access Manager/Studio Monitor.

Unicast addresses in Remote Sources work fine accordingly, but we have content security concerns where someone who may have access one day shouldn't have it the next day, and we cannot constantly change IP addresses to accommodate.

Anyone with similar needs and solutions?

Scan Converter using a lot of CPU resources

Par 4xStreamer
I am getting about 22-30% CPU usage from Scan Converter on my PC. What can I do to drop the resource requirement? It also has the same level even if I use region capture. I thought this was supposed to only use ~6%.

PC stats:

i7-7700K @ 4.2ghz
GTX 1070
3 - 1080p monitors
1 - 1080p webcam
1GbE NIC

I'm capturing at 60fps. Also, is there some way to make it only capture from one monitor? ROI doesn't capture the whole screen.

Note: On one of my older computers, which has an i5-2400, it uses 30-40% CPU.

MIX 3 & 4 are missing

Par Muzzman
I have just updated our TC-1 to Build 7-1-200210C and just realized that MIX 3 and MIX 4 are no longer available within the "Source Input" drop down list within the TC1 NDI selection. Only MIX1 and MIX2 are available?
MIX 1 and MIX 2 are needed for recording?
I require the DDR's to return as an Input to use Video Delay for each source (for timing) as all the Audio is being done external through a Yamaha Mixer, including DDRs.
I am able to see MIX 3 and MIX 4 in the Output configuration page where I have selected DDR 1 and DDR 2 but it seems with this Firmware update these are no longer available as described above.
Is this a Bug with this F/W or anything else I am missing as it was fine before this Firmware change.

Video stuttering and audio dropouts

Par davidcbny
I've been working with NDI for awhile, but one persistent issue is video stuttering and/or audio drop out. We have the TC 460, and the Mini-HD-SDI, some PTZ cameras, and two Sparks. The stuttering happens regardless of what combination of hardware. Right now, I'm using my laptop with NDI Tools 4 scan converter and receiving with the TC Mini.

NewTek NDI Camera is not NDI|HX Camera? (IOS)

Par JoLa
I bought NewTek NDI Camera. Now I see only NDI|HX camera in Appstore (IOS). And Appstore want another 235 SEK for that. Has Newtek changed name to be able to charge me again? Or what have I missed?

Thank you to Newtek.

Par kidgkodiak
Just wanted to give you all a big round of applause and thanks for your hard work to each and every one of the people at Newtek for the latest NDI release today. You guys came at the perfect time and while most of the Newtek staff here are usually hounded by questions, I hope this message gets to your team. Again, thank you for doing all that you are to keep us (and definitely from us working from home) afloat during these hard times.

Cheers to your team, and stay safe folks.

NDI and Avid Media Composer Across VLANS

Par justsomeguy
Hi All,

Here's my problem: I'm trying to give multiple end users the ability to use Studio Monitor to watch down the output of multiple Avid Media Composer's running NDI Open NDI plugin. To be clear, i want them to be able to select from a list of roughly 50 machines, to watch one of them, using the monitor. My network is not multicast nor mDNS enabled. My end users are on different VLANS than the Media Composers. For reference, I'm using MC 2018.12 and NDI Tools v4.0 on monitor endpoints.

1) Avid Media Composer does not seem to have a place to configure the Open i/o NDI plugin in order to point it at a Discovery Server (anyone know of a way?) so i can't use a discovery server implementation.

2) I've resorted to Access Manager on the NDI Monitor end point. Im able to manually add the sources in the access manager for the multiple machines and they all work (hooray).

3) Access manager stores it's config in several places.
ndi-config.v1.json in C:\ProgramData\NewTek\NDI
a registry key called "IPs" in HKEY_USERS\-username-\Software\NDI\Networks where -username- is the Administrative or Power user that last launched the Access Manager app

The last point there is something i need to flag, because its important for the next one. Access Manager can only be ran (on windows 10 anyway) by a user that has Power User or Administrative privileges on that machine. If the end user that needs the monitor is not an Admin or Power user, an Administrator needs to configure the access manager and then their use of Studio Monitor will then reference the config put in by the windows Administrative user that did the setup.

What I've found is that neither of the above Configs actually take any precedent in the "Remote Sources" tab. I've tried to manually add Source IPs (comma,separated) to both the RegKey as well as the JSON file. When I next launch the Access Manager application and update the config, both the JSON file and the Registry Key are overwritten by the application upon closing.

So that got my wheels spinning and I realized there must be another config somewhere. Sure enough, there is. That config is called ndiMemos.xml and lives here: %USERPROFILE%\AppData\Roaming\NewTek where %username% is again, the Admin or PowerUser that configured the Access Manager. I was able actually to manually modify that file, which is great. But I still have this problem with Access Manager needing to be ran as a Power/Admin user because unfortunately many of my users are not Power/Admin on their own machines.


So, here's my ask 1) In the long term, is there any way Access Manager can be properly signed so any user can run it? 2) Is there an easy way to do this? I'm thinking a webserver inside of my environment that "Catches" all the media composer feeds over NDI and Aggregates them into a WebPage so an end user can simply hit that webserver over p443 and click a Source to view it in the browser (html5 video). Does anything like that exist out there?


Thanks all

Advanced Edition 3 no longer supports iVGA - Need help

Par isaac2k2
We recently upgraded out Tricaster 8000 to the latest Advanced Edition 3 firmware and we lost ability to display our Easyworship via ivga to traicaster.

I have read about the NDI solution and installed it on the desktop and setup everything but I have facing a challenge with this new system.

The laptop main screen is captured on Tricaster as a feed but no where to force it to display the secondary screen which is where we project our scriptures to external monitors.

The old ivga had a setting that allows you to select which screen but this new one does not have such option hence we are stuck.

Anyone able to assist.

Thanks

Can't Get NDI Studio Monitor to record a feed with alpha channel

Par avkid6345
I'm struggling with studio monitor this morning with Studio Monitor and IsoCorder. I have titles coming in from ProPresenter with an alpha channel. I can get it to display properly within Studio Monitor with the checkerboard background confirming that the alpha channel is working, but all recordings just have a black background. I can't find a way to get the iso feed from the titles recorded with alpha channel. Any obvious settings I'm missing? Is there a better NDI recording software out there?

⁣ ⁣⁣ ⁣#repost @desilence_⁣ ⁣__________________⁣ ⁣⁣ ⁣This...




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⁣#repost @desilence_⁣
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⁣This installation we are doing with @janebeta7 at the @upfbarcelona pays tribute to all the women who worked in the textile factory Ca l'Aranyó since its opening in 1877. .⁣
⁣.⁣
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⁣#llumbcn #llumbcn20 #videomapping #frame #videodesign #visualist #generativeart #millumin #madmapper #nightphotography #lightskin #lightworker #lighthouse (at Master Universitario en Artes Digitales UPF-IDEC)
https://www.instagram.com/p/B94OIV5pudn/?igshid=118x9p08zfcln

Overlap Interview

Par Hayley Cantor

I have been exceptionally lucky to be able to pick Overlap’s Michael Denton’s brains with all of those nitty gritty questions about their career that every visual artist wonders about. How did they get to be where they are? What was the VJ scene like in the nineties? How is their relationship with technology and whose work inspires them? 

Overlap are true veterans and represent original artists on the audiovisual live performance scene, not only have they experienced more changes in performance technology than I’ve had hot dinners, they’ve been up there with some of the most popular artists of our time, performing with the likes of Chemical Brothers and have animated artwork by Damien Hirst.

You have presented your work in some of the most prestigious international galleries around the world, including the Pompidou in Paris, Tate Modern, and the Victoria and Albert Museum as well as done a VJ set with the Chemical Brothers. What is the project that you are most proud of? 

Remixing and VJing The Beatles Magical Mystery Tour film for its cinema première at the South Bank with Noise of Art was a highlight.

We’re pleased with the editions on SeditionArt. They incorporate a lot of ideas from the past and are also feeding into some future shows.  Musically, Greylight Green  is something that works when you’re in the right mood. As these recent editions highlight, we’ve always been at the more arty end of the Vjing/music industry, and the more musical end of the art world.  The music industry and the fine art worlds attribute value in such different ways. But twenty years ago, we were lucky to stumble into a certain era of EDM culture, it was like the early days of flying’s uncharted freedoms. In Turnmills nightclub in Holborn, I remember one of the guys from Reality Check, (the house VJ and AV  team, for nights, including The Gallery and Trade etc), saying they showed art to thousands of clubbers every week – and they did.  Hopefully for an audience the circling and repeating imagery of VJ-ing done well can create a kind of memory image burn effect – they go home with a ‘memory painting’

Fine art galleries and big projects have not necessarily been the most rewarding – the really interesting moment for us was being at clubs and festivals with a large amount of freedom, developing a  style of imagery and delivery without record companies and DJ Managers controlling what we did. It was genuinely creative and new, yet fulfilling a need. This for any artist is a luxury.

Early on we’d be flown out to Creamfields in Andalucia with Microchunk, or wherever, and literally be immediately on stage with a 50k audience and the DJ, no pre planning or rehearsing, ” 5 mins guys”, maybe an artist logo at the beginning, then mix. 

As Overlap you have experimented with the majority of the audiovisual art formats. Is there one in particular that you enjoy?  

Long VJ sets are a nice journey, in medium sized venues with a few different feeds going into multiple screens and low lighting.  AV sets are always a bit more stressy – as doing the visual/music/sound for maybe 40 mins, feels more contrived/pre planned and edgy.  Multi screens can make things a lot more architectural/sculptural, with 3d projections on objects etc, and simpler more graphic imagery. So a mixture of graphic and more pictorial screens is a nice balance. Again we tend towards a more art bias, whereas a lot of club imagery is a fairly bombastic extension of the lighting show – think rising chevrons.  Equally a very simple installation/projection on a gallery wall can be really satisfying.  For AV sets, good acoustics and smaller venues suit the minimal music we make.

I’m sure you have collaborated and met with many of the world’s most famous audiovisual and new media artists on the scene. Who particularly inspires you?

Loads of things inspire me, from motorcycling to design and architecture. More recently though works/gigs by Ryoichi Kurokawa, Fuse, some of the things AntiVJ have done, Davide Quayola. Nils Frahm, Biosphere, through to more obscure music form France Jobin to gallery based artist like Mat Collishaw. But also painters like Nigel Cooke, with his circuitous multi picture planes that create a pictorial balance that your eye follows round and around – comparable to good VJ mixing.  We were lucky to be part of a talented group of VJs represented by Microchunk in our VJing hey day – unique underground artists. I think we all inspired and motivated each other to push further artistically. Lady Pat and Grand Dame are two of Anna’s favourite, similarly self taught, audiovisual artists.

The art of VJing is a relatively new term for the art of live video mixing. When did you first become aware of the term and how has it changed for you over the years? 

Firstly it was the definitive move away from the pop video, which had been: point camera at people singing the song, illustrate/narrative/advertise – ie. TV.  So the culture of EDM remixing, had the authority to legitimize its visual equivalent and create the context for VJing. It’s a term I’m not overly fond of, but it does put you on the stage side of technician, ie you make and shape content – not to demean the amazing art, that is light mixing, house sound, etc. VJ content is a form of visual serialism, like music about patterns, removing the asymmetry of drama, its infinitely more complex in its potential multi layer/screen applications than linear media, maybe more so than music.

When I was at Chelsea art school, there was Glitch (first time around, VHS crash editing, late 80’s),  video artist lecturers talked derogatorily of ‘club wallpaper’,meaning all things shallow. But I was interested in this form, that had a use and the public liked – unlike so much video art of the era.

The first time I got paid to show images in a bar – also in Holborn, was in 1985.  The fee, one bottle of wine.

The first time I thought about something like VJing was as a very young kid, around the time the Beatles released The White album, in the back of my dad’s car one evening, driving along country roads in Dorset and thinking about ‘films’ that would be like the trees sliding past the windows. Non narrative loop structures – I certainly didn’t know what narrative meant at the time, but I did have this strange certainty of there being a future for this sensory/sensual idea.  The first time I got paid to show images in a bar – also in Holborn, was in 1985.  The fee, one bottle of wine.  Then I showed an AV Album work called  Open at  Megatripolis, Heaven, Charing Cross around 1994.   I met Anna in the late nineties we got invited to do stuff at the ICA and bars in Shoreditch etc.  We formed Overlap and she learned a lot of the Adobe programmes very fast and we started to get paid to VJ, both loving the visual depth, luminosity and surprises that multilayering and keying threw up.

Photo still from Overlap’s project, Lipstick Earth

How would you define the difference between an AV set and a VJ set? Could you describe one of your set ups to us?

People I know who travel the world for major DJ acts are operating in a different world from small AV acts. There’s’ a big difference between doing multi screen VJing, with pre programmed triggered clips via midi, osc etc  and mixing live on the fly, by feel.  Ben Francis who does visuals for Calvin Harris, for example is taking code with BPM info etc, from the CDJ’s, but is also live mixing.  Keeping the audio and imagery separate still seems to be an industry standard. The music driving the imagery, which makes sense in some ways, but is also strangely anachronistic. When we do an AV set we have married imagery to 8 bar loops, some elements are locked with time code if we’re using a separate music source, CDJ’s etc and some not, to make it more organic.  Most AV performers drive Resolume with Ableton or code, or at least lock them. Unusually, we use Resolume a lot for sound. 

Photo courtesy of overlap.co.uk

AV shows can be done in so many ways. In the end it seems the content and the feel of what you’re doing is probably more important than how you’re doing it.  How much do you want to do live – how much does the audience care how dexterous you are?   DJ’s spend a lot of time dramatically illustrating that they’re turning a mixer knob,  that appears to have the equivalent friction of pulling a ship back up a launching ramp, they haven’t got anything else visually to do. Where as, if you’re doing a multi 4 Bar loop AV set, five layers deep and you’re triggering them live, you’re busy with no time for the high friction mixer antics. 

Recently we’ve been using performance tools like Resolume to create on as well as a performance tool. I tend to pick it up like a guitar and mess around, sometimes its a really useful ‘writing’ instrument too. 

As a Barcelona resident, I can’t help but notice that you once had regular visual slots at Razzmatazz. Tell me more about that! How was the VJ scene in Barcelona back then? How is the scene in the UK these days?

This was VJ-ing with visual specialists/agency Microchunk , who were represented by William Morris, which meant we were well looked after.  There was a core group of artists including Lady Pat, Mischa Ying, Ben Francis, Muthabored, Todd Graft and ourselves and we were lucky to perform and make installations everywhere from Norway’sHove festival, to Glastonbury. In Barcelona, we’d perform two nights, mainly at The Loft, Friday and Saturday from around 11pm till 6.30 in the morning, sometimes just Anna and I, but often other VJ’s. The local VJs were very gracious about us filling their slots.  It was always full on at Razzmatazz, a really intense atmosphere. The club was always packed.We’re not really involved with the UK club scene  at the moment, but friends who work for major acts seem to be far more controlled by a corporate plan.  

You have both lived through a plethora of technological developments throughout your careers, starting with the use of VHS in your installations. What is your relationship with technology? Is it one of love and hate or it is a match made in heaven?

Anna and I are different generations –  before I met Anna, I spent a lot of time blagging my way into analogue beta edit suites in Soho to make material – it was tricky, but looking back people were incredibly kind and helped me realise effecting footage shot on motorcycle trips with a clockwork Bolex.   Anna and I started at the point of very low resolution VJ software – so we used hybrid mixtures of micro chapter DVD loops and Flash loops mixed with V4’s. I like the things that technology makes possible, but get frustrated with the art world tendency to think if you ‘paint ‘ with technology, that you should necessarily be using the very latest tech and trend.  I enjoy mapping and responsive VR etc, but equally I like the confines of a rectangle and a painters vocabulary.  Music doesn’t seem to have the same linearity, no one would think it odd playing a 1960’s Fender.

I enjoy mapping and responsive VR etc, but equally I like the confines of a rectangle and a painters vocabulary. Music doesn’t seem to have the same linearity, no one would think it odd playing a 1960’s Fender.

I notice that landscapes have been a recurring theme in your work, right up to your most recent project of Transitional Landscapes. What is it about landscapes as a subject that inspires you?

We all project memories and feelings onto our immediate surroundings. Landscape is a good genre to play with the relationship between still and moving imagery, the romantic v the analytical, the unveiling of narrative contrasted by the implicit ambiguities of painting (movies v fine art). 

Mixing trees from around the world is strangely satisfying, they’re overlaying branches having a legitimacy. English copses with New World deserts keyed through wallpaper and fabric’s repeated motifs reference Richard Dadd’s The Fairy Feller’s Master-Stroke’s, heightened stillness, petrified trees and flattened nature,  more tapestry than living environment.  Then we can add other man made impositions, ghosts of utilities, power lines, imagined data paths, architectural plans, wiring diagrams and intimate blinking status LEDs. It seems to suite a  first person view, apart from narrative. 

What would be your advice be to young audiovisual enthusiasts who are keen to develop their careers in the industry?

Like the fine art world there are so many different strands of audiovisual arts. It will keep changing, entertainment will morph.  How and what ‘artists’ do v creatives and ‘technicians’ etc is complicated.  The EDM model was that music was the most important element – but now with performance more of an earner than record sales – maybe the creatives/technicians/, (not the artists)  are the main act.  To further confuse it all,  AV is crossing over with fine art and stage design etc.  So maybe listen to everyone and ignore them all.

Find out more about Overlap on their artist page

The post Overlap Interview appeared first on Audiovisualcity.

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 @studio_phormatik⁣ ⁣__________________⁣ ⁣⁣ ⁣We...




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⁣#repost @studio_phormatik⁣
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⁣We took a city icon, a vintage Ikarus bus, and positioned it on a prominent spot in Sofia. A 360° projection mapping installation created a unique spectacle for thousands of spectators.⁣
⁣#projectionmapping #publicart #installationart #lightart #3dmapping #immersiveart #lightinstallation #artandtechnology #3dmappingshow #modernart #abstractart #visualart #digitalart #outdoorinspiration #ikarus #millumin #gsgdaily #instaart #everyday #art_daily #sofia #phormatik #jokermedia #24_7production (at Sofia, Bulgaria)
https://www.instagram.com/p/B9nCn3BpmaJ/?igshid=1dm81kq4c3o4a

NDI HX1 vs HX2

Par DStoneburner
is there an article that shows the improvements of HX2? Thanks in advance.

⁣ ⁣⁣ ⁣#repost @raio__⁣ ⁣__________________⁣ ⁣⁣ ⁣ #mapping3D...




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⁣#repost @raio__⁣
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⁣ #mapping3D #videomapping by #RAIO #2016 #evolution #spheria #audiovisuales #multimedia #foley #moog #ableton #millumin #Estrenolapso #comingsoon #finalista #2018 #raiovisual #raiomusic more info : www.raiovisual.com
https://www.instagram.com/p/B9YpRshJNYZ/?igshid=lkm2u7fmdayr

Powerpoint in Presenter Mode & Full Screen options?

Par Pasnow
Thinking out loud here, and for an external set of eyes & brain to help think something thru. We do conferences in a fairly large auditorium (100-200 ppl) about the size of a high school gym, but professional environment. Previously, we had out laptop at the podium, and speakers would use the clicker to cycle thru the slides. In between speakers tho we have our staff kinda walk up, fumble thru the laptop to close out the PPT and load up either a On Break set of slides, or maybe a promo or video. It's not terrible, but there's talk it looks a bit amatuerish, and we want to control the slides and projectors view from the back. (Also, some less savvy speakers wish to show a youtube video or something and have trouble bringing it up).

We use Wirecast, and have a Connect Spark. We are thinking of using the Powerpoint laptop in to the Connect Spark, and then Wirecast grabs it for our online viewers as Picture In Picture (this we currently do & is A Okay). Then place a laptop up front, and use Studio Monitor for the speaker to view the powerpoint. And from there, HDMI out to the projector.

However, inevitably, some speakers are going to need/want to see their PPT in Presenter View, and see notes about their speech. It is not our auditorium, and we only get in about 6:30am for an 8am start, and we do not have access to the projector from the back, its hanging high up & fixed, with the HDMI input cable at the front. If we send Presenter View to the podium via Studio Monitor, it then outputs Presenter View to the Projector. There seem to be things like Birddog Mini however if the Powerpoint HDMIs out Full Screen to it, likely it will full screen to the podium.

Logistically, can anyone conceive a way to pull this off? We're thinking some form of screenshare (GotoAssist) for the podium to view the PPT Laptops Presenter View screen, while HDMI out is Full Screen to the Monitor. Or, maybe via OBS using NDI.
Lastly, 2 laptops with NDI Scan Converter on would not see each other, right?

NDI Studio no video but has audio

Par RCJ
This is a weird one. Reminds me of when we had to change the .ini file to get overlay to work. Computer Specs below
NDI Studio Ver 4 loads the studio and receives audio, but only shows green screen on video. I'm simply trying to display our NDI output on a local computer on the same Gigabit LAN. Could not get VLC to decode, but suspect it has encode and no decode. Maybe someone knows how to get VLC to decode and display.

So Studio has sound and green screen for video
NDI test pattern Ver 4 crashes with the following error:
Problem signature:
Problem Event Name: APPCRASH
Application Name: Application.Network.TestPatterns.exe
Application Version: 1.0.0.0
Application Timestamp: 5e45db8b
Fault Module Name: Processing.NDI.Lib.x64.dll
Fault Module Version: 4.1.6.0
Fault Module Timestamp: 5e45db06
Exception Code: c000001d
Exception Offset: 0000000000bab64a
OS Version: 6.1.7601.2.1.0.256.1
Locale ID: 1033
Additional Information 1: 16a6
Additional Information 2: 16a64011e9427dfff697afa4c86d841b
Additional Information 3: a4c8
Additional Information 4: a4c8bb0ef04e858c1479ab66be8c00c1

***********
Tried Ver 3.6 NDI Tools and get test pattern to another machine for 20+ hours, but Studio 3.6 crashes with this error:
Problem signature:
Problem Event Name: APPCRASH
Application Name: Application.Network.StudioMonitor.x64.exe
Application Version: 3.6.0.0
Application Timestamp: 5b580b37
Fault Module Name: Application.Network.StudioMonitor.x64.exe
Fault Module Version: 3.6.0.0
Fault Module Timestamp: 5b580b37
Exception Code: c000001d
Exception Offset: 000000000053fdcb
OS Version: 6.1.7601.2.1.0.256.1
Locale ID: 1033
Additional Information 1: 1ee0
Additional Information 2: 1ee092440bf7aac5428f9257921782a1
Additional Information 3: b72b
Additional Information 4: b72b6fc4d6af5792c99d216a12a03bf2
************
Cleaned everything out and tried several things nothing allows it to display the video. Updated all drivers, no virus, no malware, no spyware, nothing unusual, DX updated, very basic setup. Output to one external monitor, not using laptop monitor on Dell D620

System: Win 7 Ultimate SP1 all updates, turned off everything I didn't need. Plenty of HD space, and swap space set to 5Gb on separate partition.
CPU Intel Mobile Core 2 Duo T7200 @2.0 GHz, 4096 KB cache, MMX, SSE, SSE2, SSE3, SSSE3, EMT 64, VT-x
CPU 12%, Physical RAM 50%, network .35%
GPU Nvidia Quadro NVS 110M, Memory 128 MB actual; used dedicated 19MB, Dynamic 25MB

RAM 2x 2GB = 4GB
Gigabit Ethernet to a switch to the other PC, running almost the same specs, but RAM 16Gb and CPU i7. Network is empty except for these two devices.

Any ideas on how to get Studio monitor 4 to display the video?
Thanks

Scan Converter closes during use

Par tellusmuseum
I am running a PowerPoint on a Windows 10 machine through scan converter into a Tricater TC-1. The two are connected through a local Gigabit switch along with a NCIO, worksurface, and five Newtek PTZ cameras. I am getting freezing through the NDI input every once in a while on the Tricaster. The screen isn't frozen on the Windows 10 machine, just the input into the TC-1. Today, when I checked, the scan converter plug in must have had closed during the PowerPoint. I restarted the plug in, and once again I could see the PC.

Any thoughts?

A way to build with FFmpeg?

Par sneakyjoe
I've recently got interested in building my server with NDI-Nginx-FFmpeg transcoding for my stream. I learned that around a year ago FFMpeg stopped NDI support.
It also looks like FFmpeg even of older versions won't build with NDI SDK? (I also assume I may have been doing something wrong)
Is there a static build of FFmpeg to use on ubuntu or even in Windows, or a way to build FFmpeg myself for personal usage?

NDI stutter

Par imryh
Hello.

We have a large NDI setup with a new TC Mini 4K in the middle of it. All camera sources (6) are coming into the TC Mini 4K using BirdDog Studios.

Every single camera source is coming up on the TC Mini has a light video stutter every 10-12 seconds.

Any ideas why, and how to fix it?

All on a local network. Lots of bandwidth.

Thanks.

Imry

Powerpoint & presenter view

Par dveldhouse
This one seems strange to me, so hoping someone has an idea why. When I connect my laptop to my Mini for recording a PPT, we can't seem to make it work correctly with the presenter view. The standard presentation looks fine on the laptop, but on the Mini and on the pass-through to a projector, the slides are squished top and bottom. The display drivers are fine and are set correctly as far as I can see. There is no problem with the standard presentation view, but some people really like to see their notes when talking. Any thoughts or am I missing something simple?

TIA

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

The post Mutek [ES] appeared first on Audiovisualcity.

⁣ ⁣⁣ ⁣#repost @desilence_⁣ ⁣__________________⁣ ⁣⁣ ⁣Estamos...




⁣⁣
⁣#repost @desilence_⁣
⁣__________________⁣
⁣⁣
⁣Estamos encantados de formar parte de este proyecto con estos súper profesionales! Un placer @brodasbros.official !⁣
⁣⁣
⁣#Repost @brodasbros.official⁣
⁣・・・⁣
⁣Estreno oficial del trailer Around the world de Brodas Bros.⁣
⁣A parte ya os podemos desvelar muchas ciudades a las que iremos, aunque tendréis que esperar un poco para saber las fechas exactas.⁣
⁣Nos veremos en: Thuir, Leioa, Eibar, L’Hospitalet, Sabadell, Montornès del Vallès, Terrassa, Gavà, Barakaldo, Navalcarnero, Manresa, Guetxo, Vilanova, San Sebastián, Castellar del Vallès, Vic… Busca tu ciudad en la lista y si nos falta la tuya no desesperes que queda mucho por descubrir.⁣
⁣@bertaponsbrodasbros @claraponsbrodasbros @llucfruitosbrodasbros @markitus_marccarrizo @polfruitos ⁣
⁣Escenografía visual: @desilence_ .⁣
⁣.⁣
⁣.⁣
⁣.⁣
⁣#brodasbros #arountheworld #arountheworldbrodas #danza #dansa #hiphop #led #hiphopshow #locking #popping #house #freestylehiphop #traveldancer #visualscenography #millumin #unrealengine #visualist #visuals #visualart #dance #dancer #videodesign
https://www.instagram.com/p/B8wRCeqpaVX/?igshid=sc3y5d6fa0hr

⁣ ⁣⁣ ⁣#repost...




⁣⁣
⁣#repost @paolo.morvan⁣
⁣__________________⁣
⁣⁣
⁣Scenography made for @beyond_nights with @julesbouit & @kw.an.za at @transbolyon⁣
⁣⁣
⁣BEYOND [Dissidence] - 13/12/19⁣
⁣@terence_fixmer ⁣
⁣@angelkarel ⁣
⁣@is.tigkeit ⁣
⁣@morpheusproduction X @thatmeltedguy_ ⁣
⁣Picture @rob_le_rob⁣
⁣⁣
⁣#scenography #scenographie #event #design #stagedesign #party #music #techno #technomusic #deep #mapping #light #lightray #structure #evenementiel #concert #dance #istigkeit #terencefixmer #angelkarel #lyon #clubtransbo #wood #woodstructure #led #millumin #neonlights (at Club Transbo)
https://www.instagram.com/p/B8wQR9CpsGb/?igshid=ao9vafinbu60

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.

NDI Version Release Notes

Par rlsafran
I just downloaded the latest NDI Tools and always compare the file size to see if anything has changed. If you go to "C:\Program Files\NewTek\NDI 4 Tools\Scan Converter", for example, right mouse and look at properties -> details tab - you'll see a version number. The last version I downloaded was 4.1.4 and the latest is 4.1.6. It would be great if there was a readme file next to the download page link or in the NDI 4 Tools directory where you can find out what has changed, been fixed or is still a pending issue.

Thanks,
Rob

NDI Connect Update Compatibility with TC1 build 2020-01-16?

Par bwood
I recently updated my TC1 systems to the latest software (2020-01-16) and found today that it no longer works properly with the NewTek Connect application (19-07-03), going NDI to SDI. The output seems to be about 1 or more frames per second, instead of the 29.97 I am expecting (I'm in 1080i). Other sources (PTZ, Scan Converter, NewTek Connect on other system) are all still functional, just the newly updated TC1 systems are acting funny in Connect.

Is there a new version of NewTek Connect planned or available that works with the latest NDI package?

Thanks!
❌