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Hier — 2 juin 2020Vos flux RSS

macOS et les claviers externes : la plaie du @ et du

Si vous utilisez un clavier qui ne vient pas de chez Apple sur un Mac, vous avez peut-être déjà eu un problème assez énervant : la touche @ et la touche < sont inversées (² et < sur un clavier PC).

C’est un problème très courant, et en théorie il suffit de relancer l’assistant de réglage de clavier.

Si vous avez de la chance, donc, il faut aller dans les Préférences système, section Clavier. Si le clavier est mal identifié (ou pas identifié), le bouton Changer de type de clavier… doit être présent. Dans le pire des cas, toujours en théorie, le fait de débrancher et brancher le clavier doit faire apparaître le bouton.


…pas bouton

Le truc, c’est que c’est assez aléatoire. Dans mon cas, j’ai un clavier avec lequel ça fonctionne, un autre qui ne veut rien savoir et un ou c’est aléatoire. Parfois ça fonctionne, parfois (après un redémarrage), non.

Si l’assistant se lance, il faut normalement indiquer le type de clavier, ISO ou ANSI. ISO pour un clavier européen, ANSI pour un américain. Normalement (c’est important), ça devrait suffire à assigner les touches correctement. Le < affichera un <, le @ (avec un agencement Apple), le ² affichera un ² (avec un agencement PC).


Les choix

Mais je vous avoue que chez moi ça ne fonctionne pas à chaque fois. Parfois, ça marche un temps puis le clavier inverse les touches. Parfois, le bouton apparaît et ne lance pas l’assistant. Parfois… ça ne marche pas. En gros, c’est pleins de bugs et ça fonctionne (très) aléatoirement. Bien évidemment, avec un clavier Apple le problème ne se pose normalement pas.

Avec un clavier Apple, ça ne sert à rien.

La dernière solution éventuelle, c’est cette commande : sudo rm /Library/Preferences/
Elle efface les préférences et donc en redémarrant, macOS devrait relancer l’assistant.

À partir d’avant-hierVos flux RSS

Faire un ² avec un clavier Apple

Depuis de longues années (vraiment) un truc m’énerve : l’agencement des claviers des Mac ne propose pas de touche pour l’exposant 2, le ². C’est assez énervant, parce que je dois de temps en temps parler de mm² et entrer ce caractère, présent sur les claviers de PC. Mais il y a une solution.

La solution de base, c’est d’utiliser Afficher les Emoji et symboles, et de rechercher le ² (en le mettant en favori).

Les raccourcis

L’autre solution que j’ai découvert par hasard, marche assez bien pour en rentrer plusieurs rapidement : il faut simplement ajouter l’agencement Français – PC dans Préférence Système -> Clavier -> Méthodes de saisie. Ensuite, quand il faut taper un ², il suffit de passer sur l’agencement PC dans la barre de menus, taper sur la touche @ (elle va afficher un ²) et revenir sur l’agencement classique d’Apple. C’est assez rapide quand on a l’habitude, et si on ne tape pas trop souvent de ². Attention, ça ne fonctionne pas avec les vieux OS : l’agencement PC date de Mavericks en 2013.

L’option Français – PC

Sinon, il est évidemment possible d’utiliser un clavier PC…

Addmio, une plate-forme en ligne pour apprendre à utiliser l’impression 3D

Alors que l’impression 3D s’installe progressivement dans nos entreprises et industries, il n’en demeure pas moins que c’est une technologie encore difficile à appréhender. Des compétences spécifiques sont nécessaires pour se lancer sur ce marché, que ce soit en termes […]


Short Film, Big Ideas: Combining 2D and 3D to Visualize a Complex Issue

For his latest film, "Disorder," Director Robert Grieves utilized a multi-media approach to tell a multi-dimensional story. Here’s how he did it.

ACCIONA mise sur l’impression 3D béton pour construire des structures plus durables

Fondé en 1931, ACCIONA est un groupe espagnol qui se consacre au développement et à la gestion des infrastructures et des énergies renouvelables. Les secteurs avec lesquels ACCIONA travaille comprennent notamment l’énergie et les services d’infrastructures, ce qui l’a récemment […]


AVCity interviews Weirdcore

Par : Marco Savo



Hi guys! Thank you for your questions and your interest in my work. Let’s get started! Here my main influences:

In the 80s: whilst growing up in France, I was very inspired by the vast amount of Japanese anime on TV, especially the Cobra series (funny that it was just on kids TV back then in France, where it would be rated 12 or 15 here in UK now) and films like Videodrome, Nightmare on Elm Street, Evil Dead 2, 2001, The Thing, Altered States, Blazing Saddles, Monty Python films and such like.


In the later 80’s & 90’s whilst living in different parts of the UK during my student years, I was really into rave graphics and visuals like
Stakker Humanoid and FSOL.

I was massively into MTV’s Aeon Flux series and non verbal films like Baraka, Koyananskatsti, Atlantis and such like. The Day Today  / Brass eye have been quite important as well in terms of absurdity and “OTT-ness”, especially the Brass eye Infographics. Then in late 90’s & early 00s once I moved to London I was massively into Ryoji Ikeda / Dumb Type / Semi-conductor Films / Ukawa.

In terms of key experiences, I’d say it was seeing Daft Punk live multiple times in the mid 90’s & their Audiovisual show in the 1997 tour. That was definitely the main experiences that pushed me to do what I do in the audiovisual world.

It was like a “smack in the face”. So bold, minimal and sync-ed to the music, it totally blew me away. I remember thinking back then, I wanted to blow people away in the same way someday.

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Good question, that I’m not sure how to answer as I don’t really think about it in that way. I’d say I very much differentiate my live & studio work. To me, my live visuals are technically made in similar ways to how my friends make music.

I position myself in the same category as lighting/laser designers, in a sense that I’m there merely complementing/enhancing the audio experience. As in my studio work I very much try to recreate the kinda vibe of an anime intro or 80s music video, which in my opinion were far more entertaining. For me, it’s all about visual impact and entertaining the audience.

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This is a tricky question for me, as I find it hard to categorize anything I see on my computer screen or at a party as art. For me it’s more like graphics or entertainment. Call me old fashioned but for it to be Art is has to be in an art context (whatever that is), and as my work isn’t in galleries or such like (yet) i don’t really consider myself as an artist.

Actually I find the words art/artists are used way too sparingly in this day and age, so I’m not really sure as to where I fit in all this. I’d rather not think about it and just carry on doing my thing & let other people define me as they see fit…

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I’m very much into specific/custom made/location-based designs. My ideas tend to be finding a way to best fit the “where” and “what”. My concepts are very driven by discussions (or lack of) with the artist/clients, which is why my work tends to vary in style (or quality, if the client/artist has too little input or dictates too much)



Firstly I figure the possibilities and limitations and work within those boundaries, then I discuss with artist/client to figure a rough direction to aim for, it then it generally snowballs from there.

I generally try to deliver what the artist/client & target audience wants, but not necessarily what they expect, so I tend to avoid the obvious options.

I don’t think I approach a project that differently depending on what genre of music it is. I just try and do whatever feels right for that category of music, BUT the workflow is vastly different depending of the type of artists they are.

Some artist are way more approachable than others regardless their music genres and when I can bounce ideas back and forth with them that is when I can go deep into what they truly want and get the best results. I can’t say the same when there’s a sea of management/label/producers between me and the artist.

It’s fair to the results are far more fruitful when I work with artists who don’t take themselves too seriously as I’m not a yes-man nor my specialty is making people like prim & proper.


The post AVCity interviews Weirdcore appeared first on Audiovisualcity.

3DBiotech, la fabrication additive au service de la médecine régénérative

La bio-impression 3D révolutionne le secteur médical en fournissant des traitements avancés qui améliorent la qualité des interventions chirurgicales mais aussi des solutions sur-mesure, adaptées à la condition de chaque patient. De nombreux acteurs du marché participent d’ailleurs à la […]


#Startup3D : Marklix imprime en 3D vos pièces détachées

Si la fabrication additive permet la production plus rapide de pièces finies, elle est aussi très prisée pour concevoir des pièces détachées. Celles-ci sont parfois très coûteuses à obtenir de part leur rareté – on pense surtout au secteur automobile […]

marklix_cover permet d’utiliser correctement l’axe z en impression 3D FDM

Alors qu’une imprimante 3D a un mouvement pensé sur 3 axes, x, y et z, elle ne les utilise pratiquement jamais en même temps. Habituellement, seuls les mouvements x et y de la buse de l’imprimante 3D sont utilisés pour […]


Lindsey Optics Unveils Large Format Optical Viewfinder

NEWS RELEASE Lindsey Optics Effective: April 1, 2020 Lindsey Optics Unveils Large Format Optical Viewfinder Lindsey Optics Unveils Large Format Optical Viewfinder New LF Supports Fast Format Changes and Diverse Lenses Los Angeles, California—Lindsey Optics introduces the Large Format Viewfinder (LF) to provide optical through the lens viewing. With a sleek, modular design, it ...

The post Lindsey Optics Unveils Large Format Optical Viewfinder appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Les projets de fabrication additive d’EOS en France pendant le Covid-19

La crise du Covid-19 aura permis de montrer les capacités de la fabrication additive, soulignant surtout le fait qu’elle peut réparer des chaînes d’approvisionnement cassées et proposer des solutions très rapidement. Partout dans le monde les acteurs se sont mobilisés, […]


Universal “Trolls” Movie Theaters, AMC and Regal Fight Back

Trolls' unexpected streaming success unleashes a battle between studios and theaters that could change the industry – for a few months.

Work from home options available for Mediaproxy monitoring systems

Melbourne, Australia – 28 April 2020: Mediaproxy, the leading provider of software-based IP broadcast solutions, is helping its customers ensure their output of the highest technical quality at a time when many operational staff are having to work from home. The company’s compliance analysis and logging systems can be accessed remotely using laptop computers to ...

The post Work from home options available for Mediaproxy monitoring systems appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

DULSE, un studio d’impression 3D responsable qui allie écologie et technologie

Jeune startup française, DULSE est un service d’impression 3D qui a placé les enjeux liés au développement durable au coeur de son activité. Elle imprime avec des matériaux biosourcés et répond aux besoins de diverses industries, de l’aéronautique au luxe. […]

#TALK3D : Rencontre avec Artyom Yukhin, CEO d’Artec 3D

Basé au Luxembourg, Artec 3D développe des scanners 3D et des logiciels de numérisation 3D destinés à divers secteurs d’activité. La société a lancé sa technologie en 2007 et est aujourd’hui une entreprise leader dans le domaine des scanners 3D […]

Creativity in Quarantine by Boris Chimp 504

Time in quarantine seems to have developed into a huge focus on creative minds, with more online festivals and artistic projects than you can shake a stick at. At Audiovisual City, we’ve been taking advantage of the time to network with artists and discover more projects than ever. We got in touch with Miguel and Rodrigo AKA Boris Chimp 504 through the audiovisual network #supportvisualists, and were particularly keen to learn more about their experiences, experimentations and creations during the quarantine so far…

1. You guys are based in Portugal. How is the situation there at the moment and how have you been affected professionally, as audiovisual artists?

We had some shows and projects cancelled or postponed, not only with Boris Chimp 504 as with other parallel projects. In the case of Boris Chimp 504 we started presenting a new AV Show – Vanishing Quasars – last September and had some nice shows in the end of 2019 Electro Alternative (Toulouse), Fotonica (Roma), Criatek (Aveiro), 948 Merkatua (Pamplona) and we were hoping to tour the show around in 2020. But now with these situation, everything is on standby, and we are unsure about when we’ll be able to get back on stage.
R: In my particular case I also teach at the university (and are running the classes on videoconference), so I am able to have a fixed income. But many Portuguese artists/technicians/AV/…. who work as freelancers or project based in the cultural, events, music and AV scene are struggling as everything has stopped right now, and many are left with zero income for an unpredictable amount of time.
M: Luckily I have some savings (ah ah) and the government gives some financial help to “independent workers” [autónomos in Spanish] but I’m still working (at a much lower rhythm) on projects that hopefully will happen when this situation ends.

2. As an audiovisual collective, you usually collaborate together in a physical space. How has your way of working changed in the current situation?

In our case, our way of working has not changed much, as we live in different cities (Porto, Faro). So working remotely is our normal way of working: making video calls, changing emails with ideas, sending audio/video files back and forth, etc… The project started when we were both living in Barcelona, and then we were working in the same physical space and developed some nice working and communication skills between us. When eventually we came back to our hometowns, we managed to change that on a virtual basis, although we frequently travel between Faro and Porto, and also so every time we have any kind of presentation we use that time fully for rehearsing, test stuff, etc… Right now it looks like we won’t be travelling soon, so this gives us more time to work on audiovisual content, than when we are touring.

“Boris has been travelling through deep space, crossing interstellar clouds of dust, star clusters and infinite planetary systems. It is not clear where he is now in the space-time continuum, his last transmission with Vladivostok Space Center was the following set of AV explorations from the deep space.” 

3. What things have you learned as a result of the quarantine and what would be your message to other AV artists around the world about how to manage the situation in order to prepare for the future?

R: In the beginning I thought that I would be super-productive during these days, and spend days coding and creating visuals, learning new stuff, but in fact it is super difficult to concentrate, as I am constantly checking the Covid19-news social media etc. So my artistic productivity is really low. Also I ended spending even more time in front of the computer, which is not good, as after some hours I start to get dizzy, tired and without patience to create anything. On the other hand I have been really enjoying cooking, speeding time in the kitchen and try new dishes (maybe because I am not looking at screens.). So my advices would be: low your productivity expectations, avoid check the news all the time (maybe only 1 time a day to keep track of the situation). And manage your screen time, avoid spend all day in front of the computer.

M: In my case I have a small toddler home to keep me busy, so soon I realised it would be much more difficult to work (at home) than before. After accepting the facts, I work with a different pace now, enjoy time with my family and try to watch the minimum news possible about Covid-19. I’m still aware and not disconnected of all around but I think it’s wise to try to keep a “safety distance” from getting overwhelmed. I would say that more than trying this moment to work more (and get stressed about it), maybe this is a time to slow down and accept it. Sooner or later we’ll all gonna go back to crazy schedules so we better enjoy while we can.

To find out more about Boris Chimp 504, see their artist page

The post Creativity in Quarantine by Boris Chimp 504 appeared first on Audiovisualcity.

Le viewer 3D Juump Ace se met à jour : quoi de neuf ?

Par : Shadows

Real Fusio annonce la version 2.4 de son viewer CAO 3D multiformat, 3D Juump Ace.

L’outil se veut autonome : il permet de visualiser et travailler sur un grand nombre de formats CAO sans pour autant nécessiter de licence logicielle supplémentaire.
En pratique, 3D Juump Ace permet d’afficher la géométrie et l’arbre de construction de vos modèles, propose des outils de mesure, filtres d’affichage, plans de coupe. Il est aussi possible d’utiliser un système de tags, ou encore d’optimiser les données CAO pour générer des maillages plus légers. Enfin, le viewer permet de convertir les formats CAO entre eux et d’exporter des vues en 2D (y compris en vectoriel).

La nouvelle version 2.4 propose une amélioration de l’interface, un meilleur support des formats 3D déjà gérés et des métadonnées, des fonctions d’alignement automatique, l’utilisation d’un nouveau repère “Features”, ou encore une amélioration de l’outil de recherche.
La vidéo ci-dessous présente les nouveautés en question, en français :

La liste exhaustive des nouveautés est à retrouver sur le site officiel. 3D Juump Ace est téléchargeable via le site officiel ou la boutique Microsoft, et une version d’essai est bien évidemment proposée.

L’article Le viewer 3D Juump Ace se met à jour : quoi de neuf ? est apparu en premier sur 3DVF.

La Pâtisserie Numérique développe un slicer pour l’impression 3D alimentaire

L’impression 3D alimentaire présente un certain nombre de défis même si elle permet de créer des formes et géométries plus complexes, ajoutant de l’originalité à vos plats. Marine Coré Baillais s’est justement donnée comme objectif de lever ces défis en […]

Gantri et l’impression 3D de luminaires plus durables

Fondée à San Francisco, Gantri est une entreprise spécialisée dans la conception de luminaires grâce à la fabrication numérique. Ces éclairages modernes sont créés par son équipe de designers et réalisés à la demande à l’aide de technologies d’impression 3D. […]

Concilier travail et enfants en plein confinement : témoignages dans les VFX

Par : Shadows

L’association Access:VFX présente un nouvel épisode de son podcast, avec un sujet d’actualité : poursuivre le travail tout en prenant soin de ses enfants durant le confinement.

Simon Devereux, fondateur de l’association, a invité une série de personnes du secteur à témoigner et échanger sur ce sujet. On y retrouvera :
Ste Greaves – Editorial Assistant at Union
Tom Box – Co-Founder, Blue Zoo
Jenny Burbage – PR & Comms at Milk
Emma Kolasinska – Senior Producer at Moonraker
Leo Barreto – Senior Engineer at MPC
Paulene Hamilton – Head of People at Blue Zoo
Martin Mayer – Head of Creative Services, at Foundry
Elaine Kieran – Lad Software Developer, DNEG

N’hésitez pas également à proposer vos propres témoignages dans les commentaires.

L’article Concilier travail et enfants en plein confinement : témoignages dans les VFX est apparu en premier sur 3DVF.

#Startup3D : MakerOS optimise les flux de travail pour les entreprises de l’impression 3D

Une communication et une collaboration efficaces avec les clients sont au cœur de la conduite de projets réussis. Toutefois, il peut être difficile d’intensifier l’activité dans ce secteur lorsque les outils sont dispersés sur de nombreuses plateformes différentes. C’est le […]

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

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

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

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

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

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

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

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

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

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

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

All photos courtesy of Evan Henry.

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

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

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

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

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

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

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

All photos courtesy of Evan Henry.

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

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

All photos courtesy of Evan Henry

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

5. What would be your dream AV gig?

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

Find out more about Cinema.AV on his artist page

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

Rencontre avec COBOD : vers l’automatisation de l’impression 3D dans la construction

Le secteur de la construction a connu une véritable révolution suite à l’émergence d’imprimantes 3D robotisées, capables de concevoir des bâtiments en béton en quelques heures. Beaucoup pensent que les imprimantes 3D béton peuvent créer un bâtiment entier, mais elles […]

IPV’s CuratorNow powers remote video production for Trailer Park Group

New media asset management software enables Hollywood’s leading movie trailer producers to securely collaborate and create without constraint from home CAMBRIDGE, UK, 1 April 2020: Trailer Park Group, the award-winning global entertainment marketing company, which counts many of the world’s most prestigious and successful companies, brands, media properties and film franchises among its clients, is ...

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Rencontre avec Gaëlle Seguillon, concept artist de Jurassic World à Aladdin

Par : Shadows

Nous avions déjà eu l’occasion de vous présenter les travaux de Gaëlle Seguillon, concept artist qui a eu l’occasion de travailler sur plusieurs grosses productions ces dernières années (Ready Player One, Jurassic World, Aladdin…). Elle vient d’être interviewée par DigitalPainting.School en vidéo :

L’occasion de vous inviter à (re)découvrir ses travaux :

L’article Rencontre avec Gaëlle Seguillon, concept artist de Jurassic World à Aladdin est apparu en premier sur 3DVF.