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☑ ☆ ✇ Zero To VJ

Interview With VJ Loop Creator, Ican Agoesdjam

Par Ryan Dejaegher — 15 avril 2017 à 21:56

Starting Out as a VJ Some people may be completely new to VJing or just getting started. What would you suggest they do to get started? Well.. learn the basics such as the technical things, find the hardware & software that suits you, sharpen your sense of art and practice. When did you start VJing and what […]

The post Interview With VJ Loop Creator, Ican Agoesdjam appeared first on Zero To VJ.

☑ ☆ ✇ HeavyM

Découvrez Marion (Lead développeuse)

Par HeavyM — 14 mars 2018 à 12:51

Discussion avec Marion Audebert, Lead développeuse   1. Tu es la Lead développeuse du logiciel HeavyM, peux-tu nous parler rapidement . . .

The post Découvrez Marion (Lead développeuse) appeared first on blog.

☑ ☆ ✇ Panasonic Vidéo Pro – Le blog en français

#EVA1: en vidéo et en français, l’interview de Luc Bara

Par Webmaster Panasonic — 22 septembre 2017 à 08:58

L’EVA1, on n’arrête pas d’en parler. Mais pour ceux qui sont allergiques à l’anglais, voici le tour complet de la caméra dans notre langue, commenté et expliqué par Luc Bara, le chef de produits Cinéma pour l’Europe.

☐ ☆ ✇ LUMEN

How to Start Experiments with Glitch and Why VJs Occupy Churches

Par lumenadmin — 5 juillet 2018 à 15:49

Yochanan Rauert a.k.a Yo Yochi knows how things work inside the international VJing community. In this interview he opens the secrets of successful networking, shares his software story, recommends the best sources of new media art related information, gives a brief yet ultimate guide on glitch art for beginners and so much more. Continue reading! […]

The post How to Start Experiments with Glitch and Why VJs Occupy Churches appeared first on LUMEN.

☐ ☆ ✇ LUMEN

Pros and Cons of Working as a VJ in Dubai

Par lumenadmin — 5 juillet 2018 à 16:24

Pradeep Mohan came from Chennai, India to become one of the moving forces of commercial VJing in Dubai. Working in the big event management company, this guy knows how things work inside out. Keep reading to learn from his experience! Lumen: You’re a video engineer and it sounds extremely cool but could you please describe […]

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☐ ☆ ✇ LUMEN

Everything You Need to Know About Mexican VJing: From Market Features to Powers of Ayahuasca

Par lumenadmin — 5 juillet 2018 à 16:33

Bio Ritmo (Roberto Montiel) is an iconic character from the international VJing community, who’s truly passionate about visuals and their meanings. Luckily for Lumen, Roberto was very open to share stories and insights on his audiovisual education, partnership with LPM festival, baby project Medusa Lab, sources of inspiration, local shamanic practises, possibilities of AI, and […]

The post Everything You Need to Know About Mexican VJing: From Market Features to Powers of Ayahuasca appeared first on LUMEN.

☐ ☆ ✇ LUMEN

VJs on Burning Man, New Platform for Visual Artists and How to Dream Big in Small Towns

Par lumenadmin — 16 juillet 2018 à 11:09

VJ Fader started his VJing career while he was studying art in California. Now he’s based in Berlin, working on a new marketplace for visual artists all over the world. Also, James compares popular festivals, shares his most memorable live mixing experience, and fantasizes about the nearest future of VJing. Don’t miss this conversation! Lumen: […]

The post VJs on Burning Man, New Platform for Visual Artists and How to Dream Big in Small Towns appeared first on LUMEN.

☐ ☆ ✇ Audiovisualcity » Audiovisualcity | Audiovisualcity

Audiovisual City interviews SIGNAL artists

Par Nina Verhagen — 19 novembre 2018 à 19:07

Audiovisual City went to SIGNAL festival and interviewed four artists: _STROY, XYZ, Hyperbinary, and Simona Chládková.

This is how it all went down.

The article about our time at SIGNAL is here.

The post Audiovisual City interviews SIGNAL artists appeared first on Audiovisualcity.

☐ ☆ ✇ Audiovisualcity » Audiovisualcity | Audiovisualcity

Audiovisual City interviews VJ’s

Par Nina Verhagen — 4 janvier 2019 à 17:30

Audiovisual City went to a VJ London meeting and interviewed three different VJ’s: Mowgli, Marta, and Pete.

AVC: Can you tell us something about yourself?

Mowgli: My first job out of school was DJ, I literally left school and I started working in a club fulltime as a DJ. One day I went to see my friend’s band play -they’re kind of a post-rock band- and he asked me after the gig what I thought about it and I thought it was great but it was quite boring to look at them. There was no frontman, and there’s no singer. They all just looked at the floor. They needed some visuals. And he said to me, “You do them”. And that was my first VJ’ing gig. That’s how I got into VJ’ing.
I mean, I’ve done visuals before but I never even thought it was a thing. I was just doing visuals with light projections but there was no VJ’ing. It was just ‘I’m putting a light projector in a club’. From there on I started to get into the VJ thing and I started doing visuals more and more. I started doing like corporate stuff and then I started coming to VJ London.
Suddenly it expanded and I realized that there were more and more people what I was doing and that it had a name. From there, in 2008, they did a VJ competition at the London International Music Show. Which happens every year. I was selected as one of the eight finalists of Europe for that. I didn’t win but it was a big thing at the time.
I played at the Big Chill festival. I play loads of festivals. Moving on from the VJ’ing, I started doing audiovisual performances. Which is what I do mostly nowadays. But I also started doing more interactive stuff. I had an award-winning installation at Burning Man, in 2011.

Marta: I’m a visual artist/ designer with a passion for performing arts. My artistic development has been initially shaped at The High School of Fine Arts in Krakow and later I mastered my skills in studying graphic design at the Pedagogical University of Krakow. I’ve got over 8 years of experience of creating video projections, mappings and LED installations for various music, arts, and events related projects. I’ve worked as a VJ at cyclical gigs in Krakow and London. During that time I collaborated with many musicians and artists from all around the world and I was a resident VJ at Prince of Wales, London.

Pete: I don’t think I consider myself a VJ anymore because I rarely do VJ’ing anymore for other people. I still love the culture and I believe that it’s something very important in my life, however, the last gig I did was like a half year ago in Brighton. It was a commercial gig and I completely hated it. Because basically, it was… I kind of forgot how the commercial part of VJ’ing looked like, so I was being asked to just show the logos. And people kept coming over to me that it was the wrong logo but they didn’t even bother me to give it to me before.
So I would say that a lot of stuff in my life happened because of the VJ’ing, but I don’t consider myself a VJ anymore.

AVC: What drew you into the AV culture?

Mowgli: I’ve always liked doing creative things but I’ve never had an agenda. I was never like ‘I wanna pursue that’. I’ve always been very open. So most of the things I’ve done, I’ve done because something’s happened. Something’s taken me down that road. But it wasn’t really a conscious thing most of the time. So getting a DJ job straight out of school, that was a complete coincidence. Like I used to go to this club with a friend of mine in Madrid, and it was a very niche club at that point in time. And then one day a DJ who worked there came over to us and said, “You two have got most of the records that we play here, right?” And we were like, “Yea, yea”. She told me that she wanted to go on a holiday but needed to find a replacement. She asked us to take over and we did. And she was never taken back by the club.
We basically stole her job. She gave us her job and then it was never given back to. But I never went out looking for that. It just happened. It’s the same with like doing VJ’ing. A friend of mine said, “Oh, you do it”. And then I was like, “Oh yea, I’ll do it”. And from then on, I mean that was the start really. With my friend saying that I should do it and then me getting more and more interested in it. And looking more into it and learning more things. Developing in that direction. And very involved in that use of technology.

Marta: In 2010, when I was living and studying in Krakow, I went to Jonsi’s concert during the Sacrum Profanum Festival. I didn’t expect that event to set a new direction in my life, I didn’t even plan to go there, it was very last minute, my friend gave me a spare ticket. I liked the concert a lot and I was absolutely amazed by the visual part of the show. Projection, lights, music and space, everything together was combined perfectly and it was a beautiful experience. I was so moved and inspired that at that moment I decided this is what I want to do in my life. In a very short time, I quit my job and I booked my first gig where I was going to do live visuals. It went pretty good and since then I worked as a VJ. I had a few other jobs in the meantime, but I never gave up my passion. I was lucky to meet many great people and we’ve done some awesome shows together. Three years ago I moved to London. I found the company that designed Jonsi’s live show that I saw in Krakow 8 years ago. It’s 59 Productions and another amazing part of this story is that now I work there.

Pete: Well, the thing is the VJ’ing is one thing and the audiovisual culture is some other thing. They’re not the same thing. They’re interconnected however, there are slight differences. Because for me it’s kind of the natural way of progressing from a purely visual side. Whilst to try to do audiovisual performances with people. Because I realized this is a powerful way of making people feel something.
However, my visual adventure started in coding. I was a programmer and I did graphics before it even was a thing and a name. I made the demos in 1996… 1998, I was sixteen back then. So that was my whole root of digital creativity. That’s where everything stems from. Because it kind of converted into the audiovisual performance group. They were playing the ambient music and I was playing the graphics. So my roots were actually in programming.
At the moment I mostly work as a creative developer. And I try to focus my activity on VR because I believe that is the next step forward. Because this is something that is the next level. You can not only the audio but also the visuals and movements, that gives you a very powerful storytelling opportunity.

AVC: What about your current and future projects?

Mowgli: I tend not to think about the future. As I said, I just go along and do things and keep evolving and suddenly… I’m easily distracted. I have millions of projects that I never finish. Like, I start something feeling excited, but halfway through I get excited by something else and pause the first one. And then sometimes I do go back to the previous things but not really finish them but utilize whatever state they’re in and doing something completely different. I recycle my stuff.
The thing I’ve been working on most in the last couple of years is an audiovisual synthesizer. Which sounds great but in reality it’s a mini-controller that’s mapped to both able in Live and Resolume. But I don’t need to look at the computer screen. It’s basically like a really big mini-controller with loads of sliders and stuff. And using that, I do audiovisual performances which are always improvised. It’s got generative visuals. And generative audio in a way. It’s about the interface. You just fiddle with the knobs and create visuals and audio at the same time. And I’ve been doing that for a while. So I’m starting to think I need to do a newer version of that. I got lots of ideas on how to make it better and whatever, so that’s one thing.
On the other side, I’m also getting more interested in doing just sound performances with no visuals. Because I’ve been getting more and more into them… I don’t want to call it music and call myself a musician. I don’t have enough musical training. I like making sounds.
It’s all just an exploration. Sometimes the stuff you stumble on and make is really bad and other times it’ll be really good. You just gotta roll with it.

Marta: Before joining 59 Productions I was working as a freelancer, mostly for music-related events, a huge part of that was live electronic music. My visuals were characterized by multiple dissolving and interfusing layers. With time, my work got more minimalistic and monochromatic.
I’m interested in creating interactive installations and audiovisual artworks that allows an audience to be a part of the performance, to experience sound, lights, and projections surrounding them. In order to achieve that I play with dimensions and visual perception, make projection seem 3-dimensional. I design shapes to project onto them or I use object and surfaces already existing in the space. My shows were never 100% planned, there was always lots of space for improvisation.
Currently, I am a part of a design team at 59 Productions– a company of artists creating video design for stage and live events. I assist with artwork and animation content for the show. Since joining 5 months ago I’ve worked on a variety of theatre, exhibition and VR projects, including an exhibition for Imperial War Museum in London, VR artwork ‘Nothing to be Written’ and ‘Deep Field’- a film inspired by the Hubble Space Telescope discovery. Most recently I was working on ‘Black and White’- a theatrical show produced by JACC in Kuwait. It was a great opportunity for me to get to know more about a narrative type of visual arts.
I’m looking forward to taking up new design challenges.

Pete: At the moment I’ve done some commercial projects for different companies. However, I have been getting more involved in tech. Because the big part of the whole audiovisual immersive business is knowing how to deal with tech. How to make tech do what you want them to do.
I found it really interesting to do this for a commercial purpose and reuse to my personal projects. So this year, because of my own personal circumstances, I was mostly focusing on commercial projects which might not have been that interesting. But one of the things I did this year that I want to continue with next year is an audiovisual look machine. That’s a project I’ve been doing for the last two-three years and with different people. We’re playing some events as well.
Hopefully, I’m going to reach a state where I go from software working progress and turn it into a hardware working instrument. And the other project is basically I want to explore more of the new technology with VR. With a new headset that’s cheap enough for people to buy it.

The post Audiovisual City interviews VJ’s appeared first on Audiovisualcity.

☑ ☆ ✇ Audiovisualcity » Audiovisualcity | Audiovisualcity

Audiovisual City interviews L’Aubaine

Par Nina Verhagen — 28 février 2019 à 17:00

Audiovisual City met up with L’Aubaine and interviewed her.

This is how it went down.

The article about L’Aubaine is here.

The post Audiovisual City interviews L’Aubaine appeared first on Audiovisualcity.

☐ ☆ ✇ The Beat: A Blog by PremiumBeat

Interview: Director Ernie Gilbert on His Sci-Fi Short Film “Nine Minutes”

Par Charles Yeager — 23 août 2019 à 13:00

Ernie Gilbert opens up about his journey from acclaimed Hollywood editor to director — and his new sci-fi short film Nine Minutes.

☐ ☆ ✇ The Beat: A Blog by PremiumBeat

Industry Insights: Editor Matt Friedman Talks “The Farewell”

Par Paula Goldberg — 26 août 2019 à 13:00

Editor Matt Friedman cuts to the chase on working with Lulu Wang and Awkwafina — and the importance of nailing multicultural projects.

☐ ☆ ✇ The Beat: A Blog by PremiumBeat

Grant Korgan and “The Push” on Owning Your Own Reality

Par Paula Goldberg — 3 septembre 2019 à 14:00

In The Push, Grant Korgan explores the power of possibility through positivity, and shared with Premium Beat the insight gained through loss.

☐ ☆ ✇ The Beat: A Blog by PremiumBeat

Industry Interview: Emmy-Nominated Editor Vera Drew

Par Paula Goldberg — 5 septembre 2019 à 13:00

Emmy-nominated editor and filmmaker Vera Drew sat down with PremiumBeat for a look into her work on "Who is America?" and more.

☐ ☆ ✇ The Beat: A Blog by PremiumBeat

Film and Video Game Composer Austin Wintory on Success from Failure

Par Paula Goldberg — 6 septembre 2019 à 13:00

PremiumBeat sat down with composer Austin Wintory to discuss his latest project — a collection of his successful failures.

☐ ☆ ✇ The Beat: A Blog by PremiumBeat

Director Nora Mandray on Using History to Understand the Present

Par Lyndsay Knecht — 9 septembre 2019 à 14:00

We spoke with director Nora Mandray about contextualizing history and keeping a complex political timeline vibrant and legible in short form.

☐ ☆ ✇ The Beat: A Blog by PremiumBeat

Industry Insights with Cinematographer Michael Franks

Par Paula Goldberg — 11 septembre 2019 à 14:00

Premium Beat stepped behind the lens with Cinematographer Michael Franks to discuss his insight on technology, and how to create the cinematic look.

☐ ☆ ✇ The Beat: A Blog by PremiumBeat

Editor Tom Jarvis on “Carpool Karaoke” with Paul McCartney

Par Paula Goldberg — 16 septembre 2019 à 13:00

Editor Tom Jarvis spoke with PremiumBeat on working The Late Late Show with James Corden and that special "Carpool Karaoke" segment with a childhood idol.

☐ ☆ ✇ The Beat: A Blog by PremiumBeat

Landscapes of Sound: An Interview with Mandell Winter

Par Paula Goldberg — 25 septembre 2019 à 14:00

Premium Beat sat down with this seasoned pro to explore his process, working relationships, and the challenges involved in sound design.

☐ ☆ ✇ The Beat: A Blog by PremiumBeat

Industry Insights: Production Designer Malchus Janocko

Par Paula Goldberg — 2 octobre 2019 à 14:00

PremiumBeat talked with this versatile designer about the process and people involved in creating the look and feel of very different properties.

☐ ☆ ✇ The Beat: A Blog by PremiumBeat

Interview: Composer Brian H. Kim Talks BH90210 and More

Par Paula Goldberg — 7 octobre 2019 à 14:00

Premium Beat sat down with Brian H. Kim of BH90210, Hello, My Name is Doris, and G.B.F. to gain a unique perspective on working in these transverse ...

☑ ☆ ✇ The Beat: A Blog by PremiumBeat

Interview: Learan Kahanov, DP of “Madam Secretary”

Par Charles Yeager — 10 octobre 2019 à 13:00

Learan Kahanov talks about his journey to becoming the DP of "Madam Secretary" — and where he continues to look for inspiration.

☑ ☆ ✇ The Beat: A Blog by PremiumBeat

Industry Insights: Interview with Makeup Artist Kaela Dobson

Par Paula Goldberg — 16 octobre 2019 à 13:00

Premium Beat had the opportunity to go behind the paint with Kaela Dobson to discuss her approach to people and projects.

☐ ☆ ✇ The Beat: A Blog by PremiumBeat

A Guide to Shooting Interviews as a One-Person Crew

Par Jourdan Aldredge — 24 octobre 2019 à 13:00

Need to shoot an interview for a film, documentary, or corporate video project? Here's a step-by-step guide on making sure you get quality footage.

☐ ☆ ✇ The Beat: A Blog by PremiumBeat

Industry Insights: Bernie Su on His Emmy-Winning Series “Artificial”

Par Paula Goldberg — 30 octobre 2019 à 13:00

Premium Beat spoke with Artificial creator, Bernie Su, who was game to answer some questions about this innovative, interactive experience.

☐ ☆ ✇ Audiovisualcity » Audiovisualcity | Audiovisualcity

3D light and audiovisual show by Huma and Eyesberg

Par Hayley Cantor — 1 novembre 2019 à 08:00



This week, we caught up with Huma about his most recent project ‘Eva,’ to find out a little more about how his musical project developed into a live AV show. Huma is Andrés Satué’s personal project, an evolution from his early musical days in a rock band to his more recent progression into the world of electronic music. He’ll be performing ‘Eva’ at Mira Festival, Fabra i Coats, Barcelona, Thursday 7th November

Tell us a bit about the visual side of your show. What can the audience expect in terms of live A/V performance?

The idea is to treat light from a 3D environment by making the light beams coincide, forming geometric figures in motion in the air.

Have your created the visual part of the show yourself or collaborated with a visual artist? (If so, who and why?) If not, tell us about how you developed the project and any challenges you faced in dealing with both elements of the performance.

I’m working with Jose Vaaliña from Eyesberg studio. It was a very natural collaboration, we met after finishing two gigs I did in Barcelona and we talked about the possibility of working together as we have very similar ideas about the relation between music and visuals, now it’s happening and I can say we are both really happy with the results.

What tools and set up are you using for the show? 

We are using 5 powerful projectors, various smoke machines (fog and hazer) and also some visuals. The beams of light will react to sound to create a symbiosis between both. Also we will use some lights and strobes for punctual moments.

How do you feel about the importance of the visual experience in your projects past and present?

It is something I have always thought about as a very important element. Even when I played in rock bands lots of years ago we always carried a few lights to add impact to the final part of the show.

Since I’m working as Huma, I collaborated with Drömnu using visuals at the very beginning, then moved to colorful L.E.D.s, smoke and strobes working with Juan Pablo Larrazabal and now I wanted to try new things and Jose appeared. I like the idea of doing something immersive, not something that you have to look at the detail or that can distract the public but something that will enhance the music. 

You’ve been making music for more than 10 years now. What is the project that you are most proud of, or have the most attachment to so far?

Well, I’m always more attached to the last thing I’ve ever done. Even though I really think that ‘Eva’ and this show is the project in which I have worked the most on and the project I’m the proudest of to date.

Got any questions for Andrés, Eyesberg, or just want to share anything with us? Jot down your thoughts below 🙂

https://hedonicreversal.bandcamp.com/

https://www.facebook.com/hedonicreversal/

https://hedonicreversal.bigcartel.com/

The post 3D light and audiovisual show by Huma and Eyesberg appeared first on Audiovisualcity.

☐ ☆ ✇ The Beat: A Blog by PremiumBeat

The Ad Astra Editing Team On Creating “Quiet Intensity” in The Edit

Par Todd Blankenship — 7 novembre 2019 à 18:47

The "Ad Astra" film editing team sat down with PremiumBeat to describe their process and what it's like working with director James Gray.

☐ ☆ ✇ The Beat: A Blog by PremiumBeat

Costume Designer Ginger Martini on Production Prep and Post Process

Par Paula Goldberg — 8 novembre 2019 à 14:00

PremiumBeat examines the important role clothes play in film and television in this conversation with fashion designer-turned-costume maven Ginger Martini.

☐ ☆ ✇ Audiovisualcity » Audiovisualcity | Audiovisualcity

Marta Verde on her live A/V show with Tensal, at LEV Matadero

Par Hayley Cantor — 12 novembre 2019 à 18:21




Earlier this month, we met with Marta Verde to find out about her performance with Tensal at LEV Matadero, and to pick her brains about all those niggling little questions we had after following her career for the last few years.

Who are the artists that you are most looking forward to seeing at LEV Matadero?

Myriam Bleau and Ryoichi Kurokawa.

How were you contacted about the project at LEV Festival?

They called me and proposed that I collaborate with Tensal for their edition at Matadero in Madrid. I had never worked with him before.

Do you ever find that some genres of music just don’t inspire your work?

Absolutely. In general I don’t work on the clubbing, or nightlife scene, so related styles of music wouldn’t be my first choice of project. I actually started doing visuals with traditional Galician music.

Analog waves in the Nave at LEV Matadero
Analog waves at ‘la Nave,’ LEV Matadero, Madrid

Do friends often come to see your performances?

Yes, it depends on the performance. These days they tend to film me in vertical, so I rarely have content that I can use other than for Instagram [she laughs]

How do you feel about being on stage as a visual artist?

I don’t really like that part at all, but of course it’s part of the job. I’m quit shy, really. My show at LEV Matadero is quite different from what I usually do – in terms of music genre, as well as the time of the performance – pretty late, since I’m on at 1am.

What is the most unusual project are you’ve worked on in your career so far?

A few years ago I worked on a project with a musician called Julián Elvira who built a flute that played different frequencies (I had no idea that this wasn’t already the case with flutes!) It was really interesting, because I learnt a lot about music and we were able to work very closely together for the collaboration. We premiered the show in Martin E. Segal Theatre, New York.

Marta verde and Tensal at LEv Matadero
Lights and visuals, Marta Verde’s live performance at LEV Matadero with Tensal

What are you working on at the moment?

Right now, I’m working on a live performance with Madrid-based composer, José Venditti. He plays saxophone, and works on deconstructing sound through classical patterns.

What set-up will you be using for your performance tonight?

A couple of months ago I bought an analogue video synthesizer from LZX Industries. It’s really fun. There’s no preview, so anything can happen, and I also can’t save any presets. I also won’t be using any code for this show, which is very unusual for me. I’ve always been fascinated with the idea of analogue video techniques, and don’t really understand why people go to great lengths to copy the aesthetic digitally, when they could just try to get a real one. 

Analog video aesthetic by Marta Verde
Analog video aesthetic by Marta Verde, for Tensal’s show at LEV Matadero

Do you use social media a lot to promote your work?

You can follow me if you like, my instagram account is mainly dominated by photos of my cat and screenshots of my work. I don’t really get work through social media channels, people tend to contact me directly. The work is really interesting and every project is completely different. Usually I’m presented with some kind of problem and I find ways to solve it.

Apart from doing visual performances, you are currently working at a Fab Lab, right?

It’s very common for freelancers to supplement their work through teaching, which I love. I find it really motivational and inspiring to work with young people and their ideas. I used to work as a coordinator in a Fab Lab, and I still give classes on programming and digital manufacturing there, but not on a regular basis anymore. I tend to work in different locations and on a more ad-hoc basis, that way I can combine teaching with my own projects.

If you want to read more about Marta’s work, you can check her artist profile page here.

The post Marta Verde on her live A/V show with Tensal, at LEV Matadero appeared first on Audiovisualcity.

☐ ☆ ✇ The Beat: A Blog by PremiumBeat

Art Director Adam Rowe on Creating the Production Designer’s Vision

Par Paula Goldberg — 18 novembre 2019 à 14:00

We sat down with art director Adam Rowe to discuss his vision of success in the industry — inspiration, process, and hard work.

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