Collanews

🔒
☐ ☆ ✇ Broadcast Beat Magazine: 2015 NAB Show News

Dejero Achieves ISO 9001:2015 Certification

Par : Caroline Shawley — 8 avril 2021 à 12:42

Demonstrates company’s commitment to delivering high-quality products and services   Waterloo, Ontario, April 8, 2021 — Dejero, an innovator in resilient connectivity for critical communications, has received ISO 9001:2015 certification in recognition of its quality management system. The scope includes the design, development, realization, information assurance, and support of Dejero’s products and services. ISO 9001:2015 ...

The post Dejero Achieves ISO 9001:2015 Certification appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

☐ ☆ ✇ Broadcast Beat Magazine: 2015 NAB Show News

Make-Up Artists & Hair Stylist Guild Holds Virtual Gala Supported by TVU Networks Cloud-Based Video Conferencing Platform

Par : Pipeline Communications — 6 avril 2021 à 22:44

MOUNTAIN VIEW, CA – April 6, 2021 – The Make-Up Artists & Hair Stylists Guild (MUAHS, IATSE Local 706) held its 8th Annual MUAHS Guild Awards as a virtual gala this past Saturday, April 3, 2021, with TVU Networks’ technology handling remote production duties. The show was executive produced by IngleDodd Media and produced by ...

The post Make-Up Artists & Hair Stylist Guild Holds Virtual Gala Supported by TVU Networks Cloud-Based Video Conferencing Platform appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

☐ ☆ ✇ 3dvf.com - Actualité quotidienne

Electricité, filament… Combien vous coûte réellement votre imprimante 3D ?

Par : Shadows — 26 février 2021 à 16:21

Thomas Roussel de PolyWorkshop est de retour avec une nouvelle vidéo qui sera fort utile aux personnes utilisant des imprimantes 3DFDM (filament fondu). Avec des mesures concrète, il a cherché à mesurer le coût d’usage réel d’une imprimante 3D : électricité, filament, prise en compte de l’amortissement.

Vous trouverez ci-dessous la table des matières ; les personnes pressées pourront se rendre directement à 12 minutes 33 pour les conclusions, mais nous vous invitons évidemment à regarder la vidéo complète, qui vous donnera une idée des démarches et des choix de mesure.
Si vous disposez d’un modèle différent mais similaire à ceux testés, les résultats devraient tout de même vous donner une bonne idée de vos dépenses.

Notez enfin que les imprimantes à résine ne sont pas évoquées, leur consommation électrique étant très faible : les consommables sont ici l’élément déterminant.

00:00​ – Introduction
01:52​ – Introduction, les imprimantes utilisées
03:08​ – Le modèle 3D utilisé pour les tests
03:31​ – Consommation de la Bluer Plus de Two Trees (24V)
03:43​ – Consommation de la Wanhao Duplicator 9 (24V)
04:01​ – Consommation de la Sidewinder X1 d’Artillery (220V)
04:16​ – Isolation du plateau de la Bluer Plus et Consommation à jour
04:47​ – Consommation à vide (1h)
05:15​ – Consommation lors de la mise en chauffe initiale
06:21​ – Récapitulatif des consommations éléctrique et coûts
08:40​ – Même GCode, mais pas le même temps d’impression 3D
09:16​ – Des étapes insignifiantes sur le coût de la consommation
09:46​ – Le coût du filament 3D
11:09​ – L’amortissement de l’imprimante 3D
12:33​ – Le coût final des impressions 3D
13:35​ – Comparaison avec une bouilloire
14:14​ – Comparaison avec un grille pain
14:35​ – Concusion
16:49​ – Conclusion, choisir l’imprimante que l’on veut
17:47​ – Le mot de la fin (Soyez créatif ! :))

L’article Electricité, filament… Combien vous coûte réellement votre imprimante 3D ? est apparu en premier sur 3DVF.

☐ ☆ ✇ Anomes / Créateurs de Possibles

Reposted from @opus3: “- FALTA - de Claudia Yolin. ⠀ Una...

— 25 novembre 2020 à 16:35


Reposted from @opus3: “- FALTA - de Claudia Yolin.

Una obra sin performers humanxs, solo luz, que montamos para grabar durante 2 semanas en @centrogam
.
.
⠀📸 de @sebapereiraco
.
.
#lightingdesign #theatre #etcelement #millumin #theatredesign #solidlightworks #lightandsound #artlight #mediaart #immersiveart #lightinstallation”
https://www.instagram.com/p/CIBNEHCJqUT/?igshid=1vysxcbae3pa1

☐ ☆ ✇ Broadcast Beat Magazine: 2015 NAB Show News

Quality Media Relies on Dejero for Connectivity during Remote Production of TV3’s Spectacular Live Coverage of 2020 Piromusical in Barcelona

Par : Caroline Shawley — 28 octobre 2020 à 15:10

  Dejero EnGo mobile transmitters aid Quality Media’s flawless live multi-camera production of 2020 Piromusical fireworks from four secret locations   Waterloo, Ontario, October 28, 2020 — Dejero EnGo mobile transmitters were at the heart of Spanish production company Quality Media’s delivery of perfectly synchronised live video feeds from this year’s Piromusical de la Mercè ...

The post Quality Media Relies on Dejero for Connectivity during Remote Production of TV3’s Spectacular Live Coverage of 2020 Piromusical in Barcelona appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

☐ ☆ ✇ Audiovisualcity » Audiovisualcity | Audiovisualcity

GOGBOT: Enschede, 10 – 13 September 2020

Par : Marco Savo — 21 juillet 2020 à 12:00



Gogbot is an audiovisual event for creative technology, science, new media arts and music.

Out and about robots, hard-techno futuristic music, crazy bonkers live performances, audiovisual extravaganza with a general cyberpunk attitude to bond it all together.

All of this and much more is offered by Gogbot Festival, the techno-hardcore-sci-fi audiovisual event based in Netherlands.

Basically the kind of event we would go on a normal weekend if we were living in the Mad Max universe. The main aim of the event is showcasing the most avant-garde and cutting edge trends in the audiovisual and new media world. And then push a little further!

Gogbot - Audiovisual Event - Robotics
Compressorhead - Animatronics Band

There is nothing quite like Gogbot on the audiovisual scene: AI meets AV, Science meets music, art meets activism during 4 intense days of multidisciplinary activities across Enschede.

Every year, the organizers propose a controversial and thought-provoking theme set to trigger reflection in the community and cutting-edge experimentation by the selected artists. Innovation in digital creativity is key and the festival creates a sonic space for this.

Every year, the result is an insanely powerful and immersive artistic rendez-vous that leaves a lingering impact awhile after the end of the festival.

This year theme is Quantum Supremacy, a mind-blowing, controversial, but extremely urgent theme.

Big companies such as Google, Microsoft, and IBM are competing to build the first quantum computer, a ‘supercomputer’ expected to be a staggering one billion times faster than today’s best computer. What will the quantum future hold?

In this Age of Pandemic, we are made acutely aware of our dependence on digital technology for work, education, and healthcare. Now more than ever, the growth of digital technology demands critical reflection.

Globalization and economic growth have brought us pandemic and environmental destruction. How can we break this cycle? Can we harness quantum technology to protect ourselves and the world we live in?

Pubblicato da GOGBOT su Domenica 12 luglio 2020

Contact

Website

Facebook | Twitter| Instagram | YouTube

The post GOGBOT: Enschede, 10 – 13 September 2020 appeared first on Audiovisualcity.

☐ ☆ ✇ Audiovisualcity » Audiovisualcity | Audiovisualcity

PATCHLAB FESTIVAL: Krakow, 23-25 October 2020

Par : Marco Savo — 8 juillet 2020 à 13:38



Patchlab Digital Art Festival is an annual audiovisual event showcasing digital art created with the latest technologies and new media.

The theme of the 2020 edition is CONNECTED. It explores the implications of the digital revolution we are undergoing in our lives due to the pandemic. The head-spinning rise of the internet based communication during the last months is still quite hard to grasp.

The internet was created originally as an effective and immediate form of communication. With the evolution of social media platforms, the world wide web is now a primary channel to express our emotions.

Audiovisual artists can help us understand the fast-changing environment we live in by visualizing the Nietzsche’s unsaid. Anything that is too complex for a total comprehension can be grasped by living the artistic experience.

Immersive installations, interactive artwork and live performance communicate complex statements through sensorial experience, giving us the chance to digest information slowly, at our own pace. Generative art as an antidote to the overwhelming data dump we experience everyday.

Patchlab festival - Audiovisual event
Matteo Zamagni, Nature Abstraction


Due to the uncertainty of in-person attendance, the organizers are planning the audiovisual event through virtual platforms. It will be therefore accessible to a wider audience through the experimental use of new technologies.

Patchlab will present art projects online and via AR (augmented reality). There will be experimental computer animations presented in the virtual cinema, remotely accessible workshops and also a dystopian multi-person computer game allowing the exploration of a post-apocalyptic New York. There will also be AV NIGHT, during which we will see unique audiovisual projects in 360° format.

OPEN CALL – DEADLINE: 30th of July 2020

All audiovisual artists are invited to submit their project proposals for this year’s program to be implemented online in an unexpected way.

Proposals can only be submitted via the online form.

Contact

Website

Facebook | Vimeo | Instagram

The post PATCHLAB FESTIVAL: Krakow, 23-25 October 2020 appeared first on Audiovisualcity.

☐ ☆ ✇ Audiovisualcity » Audiovisualcity | Audiovisualcity

About Kusmos Live by Kuflex Lab

Par : Marco Savo — 22 juin 2020 à 16:00

During these tough and uncertain times it has been inspiring to see so many audiovisual artists and events coming up with tools and formats to overcome the quarantine restrictions and social distancing.

A few weeks back the guys from Kuflex Lab reached out to showcase their latest tool that stands out among all the virtual/hybrid solutions we have seen so far. Kusmos Live allows to turn online concerts into interactive digital shows. Pretty neat uh?

Kusmos - Kuflex Lab - Audiovisual Interactive Tool

Let’s dive in and explore how it works. Down to the nitty-nerdy-gritty Kusmos is a custom VJ software written on openFrameworks + VDMX5 + Syphon.

In spring 2020 Kuflex studio began an experimental project Kusmos Live. The purpose of the experiment was to upgrade the Kusmos system in order to create a interactive online home shows.

In 2018-2019 the Russian audiovisual studio experimented with the innovative tool together with SILA SVETA studio on the Therr Maitz concert, Caprices Festival 2018, Nina Kraviz experimental performance at Coachella 2019.

OK, really cool but how exactly does interactivity work? We gave some feedback to Kuflex lab with a few tricky questions to better understand the whole potential of this new audiovisual tool.

KUFLEX: The Tracker program receives depth-sensor data, calibrates a point cloud as we need it (we can rotate the cloud, cut off everything you don’t need keeping only the data of the artist oneself and merge point clouds from two sensors) and sends it to the renderer (UE4 scene).

Scene functions build a 3D model using the data provided by the Tracker and then we can layer all kinds of features with effects on the model and also transform and distort it according to the artistic concept. We also captured video from the laptop’s webcam and sometimes showed its picture. 3D scene acting as the artist surrounding, a set of virtual cameras for capturing from different viewpoints and visual effects were set up in advance in the Unreal Engine. Then the OBS program captures the video of the launched scene and sends it to the video streaming server.

Kusmos Live - audiovisual tool

During our second live experiment we tested some new features for the viewers interactive communication with the stream. While Leksha (Smolensk, Russia) was playing his ambient-set, a VJ (Moscow, Russia) was controlling visual effects with the use of commands via YouTube chat in real-time mode. Our team has implemented this function between the concerts and decided not to tell the viewers about it.

During the stream, noticing weird messages in the chat, some of the viewers started to realize that they could not only send a message to the chat but to even affect visualization. In the end the concert has turned into a digital quest. Some viewers picked up effect control by sending particular commands to the chat. We have yet to comprehend how to develop this function in the future.

 AVC: We think it’s a really interesting and innovative project responding to the challenges of the pandemic. In terms of appeal for VJs there is the risk of potentially being extremely limited for the audiovisual artists creativity, and the aesthetic I guess would always be the same.

It would be key for the tool to have a wider range of possibilities of customization for the artists otherwise they might get tired soon. I guess they all want to leave their unique mark in the scene.

KUFLEX: Kusmos is a universal software tool, with the possibility of variability of visual and interactive solutions. As a rule, our team creates a virtual stage specifically for the performance of the musician. Of course, we want to upgrade the program creating a database with different scenes, effects. In this case, the user will be able to construct the scene himself and combine the effects for his live/stream. 

AVC: It’s a bit unusual to keep promoting the idea of “God is DJ”. Is the DJ persona so relevant the viewer wants to watch during the entire show in a virtual environment?

KUFLEX: Regarding Kusmos Live project, the Kuflex team is collaborating with various musicians. We wanted to support the performers. So this approach determined the emphasis on the figure of the musician on the virtual stage, under whose musical personality, sound we come up with a visual solution. We do not just shoot a video with a musician, as is often done in broadcasts, but create a digital avatar that changes depending on the script, music and VJ control.

At the same time, Kusmos Live is primarily a show, a kind of mix of live performance, a computer game and fantastic movie. The virtual camera can fly through digital space, we can switch to different visual elements of the scene and include additional visual effects to the music.

Kusmos Live - Audiovisual Tool

We try to achieve the effect of real interaction with the viewer as well. Our team is developing a function of interaction through chat – viewers’ comments fall into the scene, they can affect the content through certain chat commands. But Kusmos can be used by artists of other genres. In the near future we want to try to create a dance performance. Now we are discussing this idea with one Russian choreographer.

We will explore the topic of distances – where physical space ends, digital begins, the relationship of body and sound. Both dance and music will take place in live format.

Technically, the performer will find himself in different areas of camera scanning, on the screen we will observe how his digital avatar changes. Again, it will all be like shooting a movie in one shot and in real time!

360 Visual Festival - audiovisual event
AVC: We truly appreciate the viewers becoming active, participating and communicating with the stream. That creates a collective experience. Could people really tell if this was a live performance or not? It feels like the interaction should be more meaningful somehow, with a bigger impact to the overall audiovisual artwork.

KUFLEX: Our team worked on a concert from different cities. We thought about how best to organise remote control of virtual cameras and effects. And suddenly our creative director had an idea to manage content through Youtube chat. During the broadcast, he wrote commands like cam1 (switching camera 1), stars ( the star effect was launched).

We intentionally did not talk about this function in advance to get the quest. As a result, some viewers guessed and began to help in managing the scene. We explore different possibilities about other ways of interaction.

In the future we want to create a client application for connecting to the broadcast via a mobile phone, desktop PC screen or VR. We intend to develop Kusmos as an art tool. Our team believes in a power of collective interaction. We want to give a palette of visual solutions, effects. Let’s all together create beauty here and now! This idea is a sincere inspiration for us. 

AVC:  We would like to know more about how the collaboration you have done with Leksha where the viewers were controlling visual effects with the use of commands via YouTube chat in real-time mode.” How does the input of data modify the visuals? is it like a live coding or common human language and how it is related to the VR software?

kusmos live - kuflex and leksha - audiovisual artists

KUFLEX: Usually in an offline format, we work like this: musicians play music, and VJ manages visual content live using MIDI controllers. Some effects are linked to the amplitude of the sound. But in a situation where we did not have the opportunity to be onsite will all team, we decided to make control through chat commands.

We wrote a special function for our software that receives data from chat on YouTube using the Google API. We came up with several commands, for example: cam1, cam2, skin1, skin2, electric noise, lasers and the like. And when someone in the chat wrote one of these words, then a certain visual effect or a corresponding camera was included in our program.

In general, we have an idea to expand the number of commands and their appearance, so that it looks more like live coding. For example, add numerical arguments to the commands, which will additionally specify the parameters of a particular visual effect.

As for virtual reality, we have plans to create our own application for viewers who can watch live broadcasts using VR devices, thus more deeply immersing themselves in the atmosphere of the digital scene and additionally receive personal effects. 

Kusmos Live - audiovisual tool
 AVC: Fascinating this idea of “universal tool” for content in real time and interactive show. We think it’s important now to dig more into the idea of how it can involve more people in the creative process. It opens new ways of investigation on how to make every audiovisual experience unique, not only in terms of the aesthetics of the piece but also regarding the narrative.

KUFLEX: Yes, this is the main object of research for us. Usually, a limited number of people can come to the offline exhibition. So we want to overcome any space frames. With Kusmos we don’t have any restrictions online! We can find ourselves in amazing digital worlds that are impossible in the physical world.

Now that Kuflex Lab and its creation Kusmos entered our radar we will most definitely keep following their progression, as always supporting innovation and creativity in the audiovisual art world.

The post About Kusmos Live by Kuflex Lab appeared first on Audiovisualcity.

☐ ☆ ✇ Audiovisualcity » Audiovisualcity | Audiovisualcity

What digital did next: Digital Arts and Social Distancing

Par : Marco Savo — 4 juin 2020 à 12:00



How digital arts can unlock value and opportunity in a socially distanced cultural sector?

Marco Savo from Audiovisual City and Kate Rolfe from The Revels Office have never met in person. Theirs is a true digital relationship born of the pandemic.

Cultural consultants who met over Zoom to explore where their world’s crossed-over, and how their mix of experience could help artists, freelancers, and the arts sector as a whole to combat this unsettling time.

Audiovisual City is a digital magazine that promotes and supports audiovisual artists and events worldwide. Connecting hundreds of digital artists from across the world, it is the go-to place for inspiration and information when it comes to the application of digital technologies in artistic expression.

The Revels Office is a cultural consultancy who specialises in finding new revenue for the arts, advising organisations on commercial opportunities and uniting them with funding partners who value the unique, high quality content that only the cultural sector can produce. Together with a network of consultants -The Catalyst Network – the team at The Revels Office manage a range of projects at the intersection between arts and commerce.

Together with a multi-disciplinary group of experts who all have touch-points with digital arts experiences, Audiovisual City and The Revels Office ran a workshop to explore what role digital arts projects could play in the future of arts organisations.

At a time when the sector is anxiously remodelling their core operations to survive months of low visitor numbers, reduced income through established business lines, and a new, uneasy socially distanced experience, we wanted to investigate what untapped value digital arts might offer.

We share with you here a summary of our findings, designed to inspire you at a critical time, to offer valuable ideas to consider in your re-modelling plans, and to decipher the role that digital can play in a sector based almost entirely on live and tangible experiences…


Case Study: Enjambre Cellular

Developed by Mónica Rikić, Enjambre Celular is a project created and designed specifically for the Medialab-Prado interactive façade.

It is a collective strategy game in which different levels and challenges must be overcome, based on the idea of a labyrinth. Controlled externally by passers-by, Enjambre Celular offers an example of a pandemic-proof artistic installation.


Case Study: Distances

Developed by Scenocosme, In this installation, two people in two separate physical spaces are filmed in real time by two devices.

They are invited to have contact virtually within the same image, bringing them together face to face. The head-to-head image created by the software is trying to constantly reduce the proxemic distance between the two people, creating unique and ephemeral meetings with the other and making a connection even when physically apart.

  • Distances Scenocosme Audiovisual Artists
  • Distances Audiovisual Artwork


Digital art vs digital design.

To make informed choices about the use of digital, it is important to understand the distinction of digital art as an artform in its own right, and digital design as a tool for engagement.

Put simply – do you need to move your live content online for commercial, audience or safety reasons, or do you want to create a new interpretation of your content that will explore your stories in an entirely new way? Neither choice is right or wrong, but it will impact the outcomes you achieve, as well as the process you go through.

“The importance of concept is key; you must start with your concept and then chose the technology to match”

Hayley Cantor

What digital art and digital design have in common is their ability to bridge between traditional cultural content and modern, digitally aware audiences, and allow people to fully interact with the arts.

No solution is quicker for overcoming an image of being elitist, static or uninteresting than a digital initiative, so long as it is done well, has a clear purpose and audience, and so long as it incorporates some kind of live and/or unique element that ensures the digital is not simply a mimic of the live experience.

While digital design is fantastic for bringing to life educational and historic content, and is arguably simpler for translating to an online platform, where digital arts stands out is in the sensorial, emotive experience that they can create, lasting longer in people’s memories and creating a sense of community and harmony even if you encounter the art alone.

Digital arts is the perfect solution for a hybrid cultural offering, connecting those experiencing it online and those there in person, allowing for smaller, safer groups to pass through it without losing the commercial, social and artistic benefits of scale.

Case Study: Virtual Archive.

Virtual Archive is a 3D, computer-generated environment open to interactive exploration by single users.

Via a VR headset, the user flies through a 3D data-point cloud formed, visualizing more than 1,700,000 documents present in SALT Research archive collections. Refik Anadol’s installation was displayed as an extension to the artist’s Archive Dreaming project.

  • Digital Archive - Audiovisual Artist
  • Digital Archive - Audiovisual Artwork


Case Study: Natural History Museum of Valparaisa.

In the Introductory Room at Natural History Museum of Valparaíso, Chile, visitors meet an installation of naturalistic illustrations of flora and fauna of the region, highlighting the work of Claudio Gay among others.

Developed by Delight Lab, this project was realised in partnership with the SUMO design and museum office for DIBAM.

  • Delight Lab - Museum Valparaiso - Audiovisual Artwork
  • Delight Lab - Museum Valparaiso - Audiovisual Artists


It’s time to set the price.

The price we have paid for the vast amounts of thrilling, comforting and informative digital content that has been dispersed throughout the global lock-down, is the expectation that digital means free.

Digital comes with development costs, artist costs and new software and/or infrastructure requirements, among other operational demands. Digital content is by no means free to create, and so why is it presented as free to consume? There are two ways of looking at this dilemma.

• Option 1 is to embrace the non-financial value that going digital presents: reaching new and much larger audiences, collecting insightful data, offering educational and social benefits, and adopting new methods in storytelling and human connection.

In this way there is still value, there are no barriers to audiences engaging with you, and you can use data and reach to collaborate with new funding partners, upsell products and services, and request donations wherever possible.

In this way we have seen a really positive response during the pandemic, with culture-lovers willingly paying for online experiences, seeing this as a charitable donation to save something they love rather than a charge for valuable entertainment. However this has not yet translated into a consistent approach that audiences and funders recognise, or indeed made up the huge gap in revenue that arts organisations face.

• Option 2 is to revaluate and recommunicate the value of the digital experience, and set up platforms that give organisations the option to charge.

Given the high value outlined by option 1, it seems reasonable that – just like the expectation to pay for the cinema or a gig – you will have to pay to participate in digital cultural experiences. This transactional view may not sit well alongside arts experiences that are traditionally free, such as museum-entry, but this demonstrates the opportunity presented by digital arts as opposed to digital design; by creating a new experience on a new platform, arts organisations can create something of value to their audiences (and new ones), one which better warrants a participation charge.

Ultimately this is an argument of supply and demand, but what we endorse is a collective reassessment of how and when to charge for digital experiences, thereby protecting arts organisations and artists from giving away valuable content for free, especially when for a time this might be one of their only viable sources of revenue.


Case Study: Fulldome Festival

The oldest full dome projection festival has been held virtually for the first time this year due to the pandemic, charging a ticket price for the online experience. A courageous decision from the organisers who decided to go full steam ahead, offering a 360 view of the festival using VR headsets.

Case Study: Mutek San Francisco, Nexus Experience

Mutek is one of the top audiovisual events worldwide, born in Montreal and then expanded through an international network. The San Francisco edition has been online this year with their ‘Nexus Experience’, hosting live AV performers on two stages, offering digital galleries, online workshops, and ‘viewing party’ film screenings. The event was free and open to donations, with 100% of the festival proceeds going directly to the artists.

  • MutekSF_Audiovisual_Event
  • Fulldome_Festival_Logo_Audiovisual_Event


Demystifying the digital process (and budget).

Digital arts experiences are impactful and memorable no matter what their size, from single exhibition displays through to city-wide festivals. While they can be huge and expensive, often a digital intervention is as cost-effective as a live experience due to the flexibility of the format, recouping investment costs over a far longer lifespan.

For those who want to consider digital as part of their future plans, digital arts producer Steph Clarke shares some considerations:

• Once a digital installation, artwork or exhibition is installed, it can often run 24/7 with minimal staffing and low running costs. Not only can this make valuable budget savings, it also accommodates far higher audience numbers over time, and can easily be adapted to allow for social distancing measures.

• Digital works can easily have their content re-purposed to suit different objectives. Content can be refreshed regularly to suit seasonality, adapted for VIP or stakeholder events, and used for advertising purposes if required.

• It is relatively easy to scale digital work depending upon size of venue or audience size, meaning this approach can be considered for a variety of projects, places and budgets.

• Digital can be used to extend and enhance audience engagement before and after the event/exhibition itself, through engagement online and via apps, creating more touchpoints with your intended audience and opportunities to capture insights and data.

• By digitalising the content for a digital installation, you are simultaneously archiving it too, preserving it for future generations and achieving important cost-savings.

• Given the huge range of digital formats available – apps, projection, light shows, VR, AR – there will always be a format suitable for your budget, timescale and objectives.


Case Study: 400 Conejos.

As part of the Bahidora 2018 festival, Medusa Lab created a unique experience for Ache Producciones and its client: Mezcal 400 conejos.

Attendees received a complimentary drink of mezcal prior entering the dome, and once inside they discovered the mezcal making process through an immersive, colour-filled experience using animations and 360 video.

  • Medusa Lab - 400 Conejos - Audiovisual Artwork
  • Medusa Lab - 400 Conejos - Audiovisual Artist


Case Study: Pinata Tweet.

Piñata was a project made by MID for +Castro agency and the SAKE production company. The piñatas were installed as part of a collaboration with Trident Senses at Benicàssim International Festival.

The interactive piñatas are controlled via Twitter messages sent by the audience. Every tweet contained #TridentSensesPinata, which activated a device that inflated the piñata. As messages accumulated, eventually the piñata exploded over the audience!

  • MID - Pinata Tweets - Audiovisual Artists
  • MID - Pinata Tweets - Audiovisual Artwork



Audiovisual City and The Revels Office plan to now work together.

We aim to connect arts organisations with digital artists and commercial partners, creating inspirational and viable projects in a time of pandemic.

Together we will champion the skills, value and authenticity that digital art and digital tools can bring those looking to find new audiences and new revenue. Get in touch to discuss how these ideas could be applied to your own organisation – hello@therevelsoffice.co.uk

This article was written by Kate Rolfe from The Revels Office and Marco Savo from Audiovisual City with contributions from Hayley Cantor (Audiovisual City Creative Director, Multidisciplinary Graphic Designer and VJ), Sean Carroll (Business Improvement Project Manager), Nicola Casperson (Brand Marketing, Events and Place-Making Consultant), Steph Clarke (Digital Arts Producer), Marta Minguell Colomé (New Media Artist, VJ and Photographer), Amy O’Brien (Events Producer), and Mónica Rikic (New Media Artist). Collectively our experience includes roles at the National Gallery, Natural History Museum, Secret Cinema, Battersea Power Station, Westfields, and London’s Philharmonia Orchestra.

BUY US A COFFEE?BUY US A COFFEE?

The post What digital did next: Digital Arts and Social Distancing appeared first on Audiovisualcity.

☐ ☆ ✇ Broadcast Beat Magazine: 2015 NAB Show News

Intinor connects to the American broadcast industry through JB&A and NewTek

Par : Manor Marketing — 1 juin 2020 à 13:23

Umea, Sweden, 01 June 2020 — Intinor Technology, Sweden’s leading developer of products and solutions for high quality video over internet, is working closely with American companies JB&A, a value add distributor specialising in the field of video, broadcast, production & proAV, and NewTek, the leader in IP-based video technology, to connect with the American ...

The post Intinor connects to the American broadcast industry through JB&A and NewTek appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

☐ ☆ ✇ Broadcast Beat Magazine: 2015 NAB Show News

RUSHWORKS VDESK Integrated Production System and Streaming Solutions Enable Quick and Easy ‘Shelter-in-Place’ Compliance

Par : Desert Moon Communications — 20 mai 2020 à 23:24

RUSHWORKS VDESK Integrated Production System and Streaming Solutions Enable Quick and Easy ‘Shelter-in-Place’ Compliance Municipalities maximize existing systems for optimized remote capabilities via RUSHWORKS’ easily adaptable technologies Flower Mound, TX –  May 18, 2020 – RUSHWORKS, provider of cool technology for production, playback and streaming since 2001, provides remote production systems and streaming solutions to customers ...

The post RUSHWORKS VDESK Integrated Production System and Streaming Solutions Enable Quick and Easy ‘Shelter-in-Place’ Compliance appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

☐ ☆ ✇ Anomes / Créateurs de Possibles

⁣ ⁣⁣ ⁣#repost @ecmstagram⁣ ⁣__________________⁣ ⁣⁣ ⁣EXO/ENDO...

— 20 mai 2020 à 21:31



⁣⁣
⁣#repost @ecmstagram⁣
⁣__________________⁣
⁣⁣
⁣EXO/ENDO from six years ago. Still one of our favorite projects ever and some of the best music we’ve been able to work with from the amazing @andrelizyoung. Haunting, dark, and brooding just like we like it. We got to encase the entire ensemble in pods of scrim and projection while we went down a tunnel, through the trees, into the fire, and through the ash fall. Exothermic and endothermic reactions of sound and light. #productiondesign #projectiondesign #projection #videodesign #destruction #layers #noise #experimental #doom #metal #music #live #liveperformance #calarts #openframeworks #millumin
https://www.instagram.com/p/CAa-T6SpcQn/?igshid=y3iuy18wa1e4

☐ ☆ ✇ Broadcast Beat Magazine: 2015 NAB Show News

Audio Design Desk Announces Official Launch of its Award-Winning Audio Tools with Free Version for Creators

Par : Zazil Media — 20 mai 2020 à 16:38

Los Angeles, CA – May 20, 2020 – Audio Design Desk, an entirely new breed of Digital Audio Workstation that uses AI-assisted content creation tools to enable filmmakers, editors, sound designers and creators to produce cinema-quality sound in seconds, today announced the official launch of its award-winning software along with an incredible free version of ...

The post Audio Design Desk Announces Official Launch of its Award-Winning Audio Tools with Free Version for Creators appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

☐ ☆ ✇ Broadcast Beat Magazine: 2015 NAB Show News

Dalet Solutions Earn DPP 2020 Security Certification for Production and Broadcast

Par : Zazil Media — 20 mai 2020 à 16:15

Paris, France – May 20, 2020 – Dalet, a leading provider of solutions and services for broadcasters and content professionals, continues its commitment to the highest security standards, attaining the DPP Security Marks for Production and Broadcast under ‘The DPP Committed to Security’ program. The marks certify that all Dalet products and solutions are developed, ...

The post Dalet Solutions Earn DPP 2020 Security Certification for Production and Broadcast appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

☐ ☆ ✇ Broadcast Beat Magazine: 2015 NAB Show News

Blackmagic Design DeckLinks Used With Joint MultiCAM and Medialooks Video Production Systems

Par : Zazil Media — 20 mai 2020 à 16:06

Fremont, CA – May 20, 2020 – Blackmagic Design today announced that MultiCAM Systems, a supplier of integrated video production systems, is using DeckLink PCIe capture and playback cards with their MultiCAM line of all in one video systems. The DeckLinks are used in conjunction with a Medialooks video SDK which has allowed MultiCAM to build easy to use ...

The post Blackmagic Design DeckLinks Used With Joint MultiCAM and Medialooks Video Production Systems appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

☐ ☆ ✇ Broadcast Beat Magazine: 2015 NAB Show News

Parliament of Catalonia Powers Live HD Broadcasts with AJA Solutions for Recording, Conversion and Frame Synchronization

Par : News Feed — 19 mai 2020 à 20:01

Since 2002, the Parliament of Catalonia has produced an institutional television feed as a free public service and educational resource for its citizens and media organizations. Overseen by a tight-knit team of in-house broadcast and engineering specialists, the Barcelona-based Parliament manages all aspects of production and delivers 150 hours of live video content on a ...

The post Parliament of Catalonia Powers Live HD Broadcasts with AJA Solutions for Recording, Conversion and Frame Synchronization appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

☐ ☆ ✇ Audiovisualcity » Audiovisualcity | Audiovisualcity

ADAF 2020 – Call for Entries

Par : Marco Savo — 18 mai 2020 à 16:21

DEADLINE: 1 June 2020

The 16th international festival for digital arts of Greece, Athens Digital Arts Festival (ADAF) is evolving and launching an ONLINE version.

Since the new era is here the international festival for digital arts in Greece, Athens Digital Arts Festival has decided that its 16th edition titled Technotribalism, will also be presented online.

ADAF ONLINE | Technotribalism will take place from the beginning of July till September and will be accessible to everyone through the internet.

Under this framework all audiovisual artists will be able to submit applications till the 1st of June, developing the Technotribalism idea to an online version.

The audiovisual event will host artworks from Video Art, Animation, VR (360 video), Performances, Web Art, Games, Digital Image, talks, workshops, ADAF Kids for Children & their Parents and Festivals of the world that are eligible to be presented digitally.

READ MORE AND APPLY

The post ADAF 2020 – Call for Entries appeared first on Audiovisualcity.

☐ ☆ ✇ Video Mapping Blog

Live Motion Capture Hologram / Çelik & Cem Yılmaz

Par : Müge Arıkan — 18 mai 2020 à 10:27

First Real-time Motion Capture Hologram in the World
with Cem Yılmaz

CLIENT: ARÇELİK
VENUE: Zorlu PSM
08.11. 2017

CONTENT PRODUCTION, MODELING, RIGGING, REALTIME RENDERING by ILLUSIONIST

Executive Director : Ahmet GÜRBÜZ
Creative Director: Serdar KORKMAZ
Production Director: Onur KULEN
Art Director: Nila DEDEOĞLU
Sound Design: İbrahim ÖZMEN, Ufuk KEVSER, Cihangir ASLAN
Artistic Director: Çisil OĞUZ
Interactive Designer: Mustafa YILMAZ
CG Artist/Animator: Selçuk KAYA, Kutbettin ECEVİT, Furkan ALABAŞ
Yunus Emre GÜLER, Alican SAYGIN
Film Director: Egemen TOKAT
Film Editor: Öğünç HATİPOĞLU
Videographer: Eray TAŞPINAR

MOTION CAPTURE ARTISTS:
Koray TARHAN
Gürhan ALTUNDASAR
Nebi BİRGİ

MOTION CAPTURE SYSTEMS COLLABORATORS
Ivo Slivkov / TIMEAWARE
Olivier AUBAULT / DYNAMIXYZ

VISUAL SYSTEMS & HOLOGRAPHIC PROJECTION TECHNOLOGY
DISPLAY TEAM
İlker Kerem ÜSTÜNDAĞ

HOLOGRAM FABRIC PROVIDER;
SHOWTEX

SPECIAL THANKS TO
CEM YILMAZ

The post Live Motion Capture Hologram / Çelik & Cem Yılmaz appeared first on Video Mapping Blog.

☐ ☆ ✇ Video Mapping Blog

All-Star Istanbul 2018 / 3 Point Contest Opening Show

Par : Müge Arıkan — 18 mai 2020 à 10:25

Client: ING BANK
Organization: The Sales Machine

Motion Capture Artist / Dancer:
Okan AYDOĞAN

Content Production, Modeling, Rigging, Render & Motion Capture by ILLUSIONIST

Executive Director : Ahmet GÜRBÜZ
Creative Director: Serdar KORKMAZ
Production Director: Onur KULEN
Art Director: Nila DEDEOĞLU
Project Coordinator: Zafer UYGUÇ
Composer & Sound Design: İbrahim ÖZMEN

CG Artist / Animator:
Kutbettin ECEVİT, Furkan ALABAŞ,Yunus Emre GÜLER,
Selçuk KAYA, Alican SAYGIN
Interactive Designer: Mustafa YILMAZ

Film Director: Egemen TOKAT
Filmmaker: Öğünç HATİPOĞLU
Videographer: Eray TAŞPINAR
Film Editor: Özgecan SEZEN

Visual Systems & Projection Technology
Display Team
İlker Kerem ÜSTÜNDAĞ

The post All-Star Istanbul 2018 / 3 Point Contest Opening Show appeared first on Video Mapping Blog.

☐ ☆ ✇ Video Mapping Blog

XX. Anniversary of Independent Turkmenistan

Par : Müge Arıkan — 18 mai 2020 à 10:24

Illusionist worked under supervision o K-Events for the 20th year celebration of Turkmenistan. Various video and animations were produced for LED.

The post XX. Anniversary of Independent Turkmenistan appeared first on Video Mapping Blog.

☐ ☆ ✇ Video Mapping Blog

World Humanitarian Summit 2016 Opening Ceremony

Par : Müge Arıkan — 18 mai 2020 à 10:23

Special Event Coordinator (UNOCHA/UNDP): Hazami Barmada
Executive Director (Global Events, UN Foundation) : Patricia Padilla
Sr Manager (Global Events, UN Foundation) : Elizabeth DeNoia
Associate (Global Events, UN Foundation): Amanda Trocola
Head of Film on Photo (UNOCHA): Charlotte Cans

Project Management: CEO Event

Creative Director: Krista Monson
Stage Manager: Gabriel Dube-Dupuis

CONTENT PRODUCTION / ILLUSIONIST

Music Composer: İbrahim Özmen
Art Director: Serdar Korkmaz
Production Manager: Onur Kulen
Artistic Director: Çisil Oğuz
Motion Designer: Yunus Emre Güler
CG Artist/Animator: Engin Fidan, Kutbettin Ecevit, Furkan Alabaş
Illustrator: Nila Dedeoğlu, Mustafa Aslan, Gülçin Girit
Film Director: Egemen Tokat
Director of Photography: Öğünç Hatipoğlu
Film Editor: Özlem Üstün
Lighting Designer: Arek Nişanyan, Yeşim Burcu Top
Stage Designer: Burcu Altan
Stage 3D Modelling Artist: Fatih Türkmen
Accessories: Umut Kurtuluş Gürbüz, İlke Tokat
Photographer: Rezzan Altürk
Assistant Stage Manager: Reyhan Özdilek, Dilek Ocak

Scenography Technical Provider: MMT Tasarım
Stage Fabric Provider: Showtex

Special thanks to
Costume Designer: Canan Göknil
Performers: Show34

The post World Humanitarian Summit 2016 Opening Ceremony appeared first on Video Mapping Blog.

☐ ☆ ✇ Video Mapping Blog

Watsons Beauty Awards

Par : Müge Arıkan — 18 mai 2020 à 10:22

CLIENT: WATSONS TÜRKİYE
PROJECT MANAGEMENT: Tarık KÖNİ / Plus Event
VENUE: Raffles Hotel İSTANBUL

SET DESIGN & CONTENT PRODUCTION by
ILLUSIONIST

Art Director: Serdar KORKMAZ
Production Manager: Onur KULEN
Artistic Director: Çisil OĞUZ
Scenography: Ela AYDEMİR
Composer & Sound Designer: İbrahim ÖZMEN
Motion Designer: Yunus Emre GÜLER
CG Artist/Animator: Erim BENER
Illustrator: Nila DEDEOĞLU, Yaprak Su YİĞİTER
Film Director: Egemen TOKAT
Film Editor: Özlem ÜSTÜN
Director of Photography: Öğünç HATIPOGLU
Stage 3D Modelling Artist: Fatih TÜRKMEN
Photographer: Rezzan ALTÜRK
Stage Manager: Hulya Ceren ANIL
Lighting Design: Çetin TÜRKMENLİ

CHOREOGRAPHY
Beyhan MURPHY
Benan İLASLAN

VISUAL SYSTEMS TECHNICAL PROVIDER
DISPLAY TEAM
Video-mapping Watchout Operator: İlker Kerem ÜSTÜNDAĞ

STAGE FABRIC PROVIDER
SHOWTEX PRODUCTION

SOUND ENGINEERING
ALTINÇİZME ELECTRONICS

SET DESIGN TECHNICAL PROVIDER
Y3 REKLAM

DJ
Enis ÇELENK

HAIR & MAKE-UP DESIGN: Özlem SACAR

SPECIAL THANKS TO
Ibrahim GÜRBÜZ
İrem GÖREN

The post Watsons Beauty Awards appeared first on Video Mapping Blog.

☐ ☆ ✇ Video Mapping Blog

Vialand Theme Park – Mystery of Istanbul

Par : Müge Arıkan — 18 mai 2020 à 10:20

“İstanbul’un Sırları” Vialand “Fatih’in Rüyası” Preshow İstanbul, Turkey

Client: Vialand
Project Manager: Hüma Gülüm

Art Director: Serdar Korkmaz
3D Animation: Serdar Korkmaz, Erim Bener
2D Animation: Furkan Alabaş
Illustration: Nila Dedeoğlu
Storyboard: NilaDedeoğlu
Music & Sound Design: İbrahim Özmen
Voice Actor: Mazlum Kiper

The post Vialand Theme Park – Mystery of Istanbul appeared first on Video Mapping Blog.

☐ ☆ ✇ Video Mapping Blog

UN World Humanitarian Summit Istanbul 2016

Par : Müge Arıkan — 18 mai 2020 à 10:19

Special Event Coordinator (UNOCHA/UNDP): Hazami Barmada
Executive Director (Global Events, UN Foundation) : Patricia Padilla
Sr Manager (Global Events, UN Foundation) : Elizabeth DeNoia
Associate (Global Events, UN Foundation): Amanda Trocola
Head of Film on Photo (UNOCHA): Charlotte Cans

Project Management: CEO Event

Creative Director: Krista Monson
Stage Manager: Gabriel Dube-Dupuis

CONTENT PRODUCTION / ILLUSIONIST

Music Composer: İbrahim Özmen
Art Director: Serdar Korkmaz
Production Manager: Onur Kulen
Artistic Director: Çisil Oğuz
Motion Designer: Yunus Emre Güler
CG Artist/Animator: Engin Fidan, Kutbettin Ecevit, Furkan Alabaş
Illustrator: Nila Dedeoğlu, Mustafa Aslan, Gülçin Girit
Film Director: Egemen Tokat
Director of Photography: Öğünç Hatipoğlu
Film Editor: Özlem Üstün
Lighting Designer: Arek Nişanyan, Yeşim Burcu Top
Stage Designer: Burcu Altan
Stage 3D Modelling Artist: Fatih Türkmen
Accessories: Umut Kurtuluş Gürbüz, İlke Tokat
Photographer: Rezzan Altürk
Assistant Stage Manager: Reyhan Özdilek, Dilek Ocak

Technical Provider: Magicbox
Scenography Technical Provider: MMT Tasarım
Stage Fabric Provider: Showtex

Special thanks to

Costume Designer: Canan Göknil
Performers: Show34

The post UN World Humanitarian Summit Istanbul 2016 appeared first on Video Mapping Blog.

☐ ☆ ✇ Video Mapping Blog

CEV EuroVolley 2019 W Opening Ceremony Show

Par : Müge Arıkan — 18 mai 2020 à 10:18

Open your eyes. See what is around. Feel what is inside.

Look. The world is built upon faith. Do believe in yourself. It’s in your nature.

Don’t forget. As you are made of earth, you may also rise and shine like a star.

Find out. The secret of success is carved in the endurance of a rock.

Extend a hand. Respecting the other is nothing but enrichment of your soul.

And connect. Find a way to open yourself to the world.

Don’t forget. It’s all in your nature. The world around you is all inside.

//

Aç gözlerini. Etrafını gör. İçindekini hisset.

Bak. Dünya inanç üzerine kurulu. Kendine inan. Bu doğanda var.

Unutma. Topraktan aldığın güçle, bir yıldız gibi yükselebilir ve parlayabilirsin.

Anla. Başarının sırrı bir kayanın dayanıklılığına oyulmuştur.

Elini uzat. Başkasına saygı duymak ruhunun zenginliğidir.

Ve bağlan. Kendini dünyaya açmanın bir yolunu bul.

Unutma. Tüm bunlar doğanda var. Etrafındaki dünya aslında içinde.


CREDITS:

CEV / TVF

Organization By SportnSports Marketing

Content & Production Design By Illusionist

Executive Direction: Ahmet GÜRBÜZ

Creative Direction: Serdar KORKMAZ

Content Creation: Emre BARCA & Egemen TOKAT

Project Coordination: Tuğçe DEĞİRMENCİ

Choreography: CAN GÖKDOĞAN

Scenography Specialist: Çisil OĞUZ

Copywriter: Güney ONGUN

Multimedia Coordination: Selay KARASU

Lead Compositing Artist: Furkan ALABAŞ

Compositing Artist: Tolga BOSTANCI

CG Artist:
Kutbettin ECEVİT
Selçuk KAYA
Taha Celal YILDIRIM
Pırıl SİLİ
Oğuz ÖZPAMUK
Yasin SINIK

Illustration:
Beren TEKİN
Serhan GÜNEŞ

Sound Design / Composer:
İbrahim ÖZMEN

Technical Design / Planning / Management:
Sedat GÜNDÜZ

Light & Kinetic Sculpture Design:
Adilcan ALUÇ

Interaction Design:
Mustafa YILMAZ

Performer:
Elif KORKMAZ

Visual Systems & Projection Technology By DISPLAY TEAM

Mahmut GÜRBÜZ
İlker Kerem ÜSTÜNDAĞ

The post CEV EuroVolley 2019 W Opening Ceremony Show appeared first on Video Mapping Blog.

☐ ☆ ✇ Video Mapping Blog

Turkcell Technology Summit 2013 / Indoor Projection & Video Mapping

Par : Müge Arıkan — 18 mai 2020 à 10:18

Turkcell Teknoloji Zirvesi 2013
—————————————–
INDOOR PROJECTION & VIDEO MAPPING
in Istanbul/TURKEY
Organisation by: Figür Turizm
Techical Provider: Pia
—————————————–
Concept Design
Light Design
Stage Design
Film & Animations
Production & Operation
by
ILLUSIONIST

The post Turkcell Technology Summit 2013 / Indoor Projection & Video Mapping appeared first on Video Mapping Blog.

☐ ☆ ✇ Broadcast Beat Magazine: 2015 NAB Show News

Atomos enable affordable 12-bit Apple ProRes RAW recording over HDMI for the first time on the Z CAM E2 Camera

Par : Denise Williams — 15 mai 2020 à 02:16

Atomos and Z CAM are today delighted to announce the development of ProRes RAW recording over HDMI from the E2 cinema camera to the Ninja V 5” HDR monitor-recorder. The Ninja V will record 12-bit Apple ProRes RAW at up to 4Kp60. This will give Z CAM users the best possible image quality from the ...

The post Atomos enable affordable 12-bit Apple ProRes RAW recording over HDMI for the first time on the Z CAM E2 Camera appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

❌