During this live stream, we will demonstrate how to use sensors to receive information from real world !
We will also show how to control a servo-motor with an Arduino™.
Of course, we will chat and answer your questions.
🎬 Live on Youtube : http://millum.in/youtube
🇬🇧 In English with a beautiful French accent
🎙️ With a better microphone this time !
#millumin #live #training #streaming #arduino #electronics #interaction #youtube
Their very diverse backgrounds (video editing, web design, vjing, 2D-3D graphics, video post-production, sound design) and a powerful synergy among themselves, lead to the development of Pixel Shapes collective that aims to produce impressive video mapping, visuals and installations.
From traditional video projection techniques to the most complex forms of architectural video mapping.
Looking for new forms of communication through the use of multimedia technologies and nonconventional supports.
Design of multimedia scenography.
Sound department is handled by Giovanni Raniolo, established sound designer and music producer.
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.
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.
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.
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.
This redesigned light-plot is starting to take shape !
States, command-line, grid, trackpad, rect-selection, … New beta coming in the next days.
#milllumin #light #plot #interface #beta
APTART Media Facade Set up
아파트아트 첫번째 투어가 충남 아산에 위치한 아파트에서 진행되고 있습니다.
@millumin2 으로 메핑(Mapping)을 진행중입니다.
3월 26일부터 27일까지 저녁 7시부터 9시까지 진행됩니다.
#APTART (at 충청남도 아산시 배방읍)
Deadline: 1st June 2020
Since it first opened in 2019, the ELEKTRA Gallery regularly hosts exhibitions. Located in the heart of the Mile-End, this new venue supports the artistic community, focusing on originality and embracing contemporary aesthetics in research and experimentation.
This is a call for projects for digital contemporary artists who wish to exhibit works between September 2020 and June 2021. The selected projects will be part of the gallery’s official program.
To submit an exhibition proposal, please send the following elements to email@example.com:
The gallery offers professional technical assistance to set-up and has limited but high-quality equipment. Works with audio content can only be presented with headphones.
ELEKTRA pays artist fees for each selected exhibit.
The ELEKTRA Gallery is located at the Pôle de Gaspé at 5445 avenue de Gaspé #104, Montréal, QC, H2T 3B2.
Data del taller:
De 21 a 23 d'abril 2020
Preu: 50 €
Horari: de 16 a 20 hrs
Lloc: Seu de Telenoika a La Contra, Carrer Puríssima concepció, 9 baixos
Introducción del profesor, revisión de su trayectoria en la realización de contenido audiovisual y nuevos medios y referencias de artistas y estudios que han influenciado en la creación de su trabajo como desarrollador de Realidades Mixtas (VR,AR,XR).
Introducción a la realidad aumentada.
Definición de conceptos, formas de abordar la técnica, campos en los que se puede usar y un repaso de referencias de estudios/artistas de diferentes disciplinas que usen el recurso con diferentes objetivos.
Introducción de software
Se crea una cuenta en la plataforma y se revisa la guía técnica de SPARK en la que se habla de las políticas de privacidad del programa, los parámetros para optimizar el funcionamiento de los proyectos y se revisa la forma en que el programa nos ofrece una retroalimentación de estadísticas para medir el alcance de los proyectos realizados.
Introducción a la interfaz con la descripción de sus botones y comandos básicos .
Planeación de proyecto.
Después de revisar los referentes se planteara a los estudiantes el desarrollo de un proyecto en el que se puedan explorar todas las capacidades del programa con el fin de ser desarrollado a lo largo del curso.
Elaboración de proyecto
Desarrollo de marcos y elementos 2D para el filtro, se plantea un ejercicio de diseño en el cual se crea una pieza que después será importada en el programa. ( indispensable tener programas como photoshop, Illustrator, Procreate etc..)
Desarrollamos una introducción a el mundo del modelado 3D, la creación de texturas y materiales. (Sugerido tener instalado programas de Modelado 3D como Cinema 4D o Blender)
En este modulo se crearan sistemas de partículas y se modificaran los parámetros para entender
los recursos de el programa.
Explicación de cómo operan la interfaz con un sistema de nodos para crear interactividad con los elementos agregados, esto nos permite no solo cambiar elementos si no también animar en tiempo real.
Metodologias de Pruebas
Spark nos ofrece la habilidad de probar nuestros filtros en tiempo real para corregir errores antes de ser exportados a las plataformas
Optimización de archivos y reconocimiento de las herramientas para tener un exporte adecuado.
Publicación y Requerimientos
En este ultimo modulo identificaremos los limites de los filtros, aprender como crear un icono para el filtro, y usar la plataforma de Spark Hub de Facebook para subir, sestear y aprobar el proyecto.
Docente: Daniel Morales
Dates del taller: de 18 a 14 de juny 2020
Horari: de 16 a 20 hrs
Lloc: Seu de Telenoika a La Contra, Carrer Puríssima concepció, 9 baixos
En aquest taller farem un repàs de les tècniques emprades dins el món de l'escena per a displays audiovisuals. Veure'm des de projectors o òptiques fins a servidors AV, passant per algunes aplicacions de software que ens permetran controlar els nostres displays de manera remota.
El taller està dirigit a totes aquelles persones interessades en ampliar coneixements d'audiovisuals i posar-los en pràctica al món de les arts escèniques. Estudiants de comunicació audiovisual, publicitat, editors de video, cinema documental, artistes visuals i professionals del sector audiovisual o del sector de les arts escèniques
# Taller Tècnica de Video
· Projectors _ Tecnologies LCD vs DLP vs Laser
Analitzarem les diferents tecnologies de projecció
· Connectivitats ( Inputs_Outputs _ Control remot )
Entrarem a mirar en detall les entrades i sortides dels projectors, des de la gamma domèstica als HDSDI dels projectors de més alta gamma
· També veure´m sistemes de control per xarxa
· Els menús de control :
Dins cada projector se ´ns obren un munt de possibilitats de control en els seus menús digitals, els estudiarem en detall.
Analisi de la lluminositat, des dels conceptes més teòrics als més pràctics
· Òptiques_On i Off Axis
Estudi dels diferents rangs òptics
· Senyals de video
Mirarem quina és la manera més convenient de transportar la nostra senyal de video, els metres i les ressolucions
· Connexionats i instal.lacions
· Pantalles i Materials :
El material on projectarem és fonamental per a l´èxit de la nostra instal.lació, veure'm aquí un gamma de materials i experiments.
· Configuracions bàsiques amb QLab i Resolume.
· Configuració de servers i esclaus audiovisuals
xarxes MIDI OSC
Enrutament i patches
· La manipulació Real_Time de la imatge ( mix, wipe i processos )
Conceptes de luminància i crominàcia ( incrustacions )
· Captura de senyal
Treballa com a freelance per a diferents projectes artístics i espectacles, i és membre de Telenoika des de l'any 2000. Director tècnic del LOOP Screen Festival i el Festival Internacional de Mapping de Girona, assessor tècnic de BAF General de Catalunya.
Actualment és docent a l´escola de tècnics de Girona ETECAM. Expert en dissenys d'enginyeria per a control de video en tempsreal aplicat als escenaris i operador de sistemas audiovisuals complexes. Ha treballat en teatres com el Teatre Nacional de Catalunya, el Gran Teatre del Liceu, el Teatre Real de Madrid o el Grand Théâtre de Genève, i al costat de companyies de teatre com La Fura dels Baus, Dagoll Dagom, Teatro de la Abadia o Compañía de teatro Animalario , músics com Albert Pla, Fermín Muguruza, Refree, Antonio Orozco o Manu Chao, entre molts, així com en festivals Sonar, Grec , Primavera Soound, Cruïlla així com en Festivals internacionals com La Biennal d´Art de Venècia.
Evan Henry, from Dallas, Texas, is a truly multidisciplinary AV artist, who primarily works visually under the artistic name Cinema AV, but who is also known to write ambient music scores with both analog and digital synthesizers. His work embraces both analog and digital set ups, with his main interest visually representing sound.
What began as a love of photography, cinema and found footage grew into something much greater when in 2015, Evan was introduced to video circuit-bending and once-obsolete video electronics. Using these pieces in a live performance setting was always his goal, and from the get-go, tachyons boxes, vcrs, and video mixers turned into buying used Gieskes 3trinsrgb+1c standalone video synthesizer, building its expanders and just over a year later, the LZX cadet and castle line of DIY eurorack modules.
From there, video art went from beyond a hobby, to a complete way of life. Reliant on live performance, he plays at gigs relentlessly for both local, and touring artists alike. In 2018, he joined Ghostly Intl.’s Steve Hauschildt on a tour through the East Coast and Canada. He became the resident visual artist for Proton Limited in Dallas, Texas in 2019. These motions set the stage for a constantly evolving motion in the live visual dimension.
Cinema AV’s work extends itself to instant and 35mm film renderings and has appeared in galleries and pop-up’s throughout North Texas. But when not playing live, or coordinating visuals for Dallas Ambient Music Nights, Evan is occasionally writing or building a set of modules for fellow artists.
The result is an infinitely growing body of work, that in the last few years has expanded itself into largely digital dimensions in Resolume Arena and Max/Msp.
DEADLINE: August 3rd 2020 (inclusive)
Event: 8-11 October 2020, Vienna
Punto y Raya Festival, the “most abstract in the world”, launches its NINTH international Call for Entries open to Short Films built up ENTIRELY with non-representational imagery. Only Dots & Lines as ends in themselves!
Authors are invited to focus on the expressiveness of audiovisual art in its purest state: Colour, Form, Motion, Sound. Participation is FREE and the films can be submitted ONLINE.
Virtual training. Live on Facebook.
● Intro to Millumin + best “hidden tips”
● Streaming starting Tuesday at 14:00 UTC
● Come in and chat
#millumin #live #training #streaming #facebook
As they say clearly, they are a street festival, but for solidarity, for responsibility and to win the fight against the pandemic, they stay at home. But to make the quarantine easier to go through, they present a challenge.
LLUERNIA AT HOME, Fire and light festival at home, takes place tonight 28th March at 20:00, and it’s the first edition. A strange way to start, and as they expected, it’s a challenge.
The people who participated had to post a one minute video of a domestic light installation with fire or light with the hashtag #lluerniaathome and all the materials had to be found at home, they couldn’t go out to search for anything. The open call closed yesterday, 27th March and today we will be able to watch in live on the web page www.lluernia.cat
The projects selected will remain in consideration till the 7th November, where Lluernia will be exhibited in the street.
Lluernia festival of fire and light, aims to become an annual event to visualize the relationship between the city of Olot and its surroundings, with the fire of volcanoes and how this origin has transformed, not only the orography and the landscape, if not the same character and culture of the people of La Garrotxa. As references, despite accepting the differences in format, they mention the “Fête des Lumieres” that is held annually in Lyon (France), the Light Festival that for the first time this year has joined the Party of Santa Eulàlia in Barcelona and the “Mapping Festival” of Geneve (Switzerland).
Stay safe tonight, lighting up your house while watching this charming festival online!
As the AV industry goes through a challenging period due to the Covid-19 pandemic, we offer a series of online presentations and webinars.
Here is a list of presentations and workshops that will be offered in French and English in the coming weeks.
Webinaire Modulo Player, devices DMX et consoles lumières
Webinaire Modulo Player, Live Mixer embarqué et Stream Deck
Info + inscription
Introduction to the Modulo Player & Modulo Kinetic media servers
Info + subscription
Introduction à Modulo Kinetic
Info + inscription
The list will be updated with new themes and dates.
Stay tuned, stay home, and be safe.
The post Modulo Pi offers online presentations and webinars appeared first on Modulo-PI.
“Sometimes we like small walls, sometimes we like large ones”
Visit the new mural page to see our latest project on big walls
Link in bio!
Y’a des formations comme ça… #logicielregievideo #millumin2 #millumin #qlab #maitrise #perfectionnement #ocs #midi #hap #vp #mediaserver #reseau #imagination #mapping #projectionmapping #lepied #espacevirtuel #media #artnumerique #pixels #creation #regisseurvideo (at CFPTS)
Dans les tuyaux de cette nouvelle mouture, des fonctionnalités avancées pour l’utilisation d’Internet et du réseau sans fil, le NDI|HX avec faible latence, un support complet de l’accélération du décodage GPU, l’intégration du NDI|HX dans la caméra autonome Mevo. La possibilité de diffuser sur son réseau NDI, des flux en temps réel d’Unreal Engine, laissant le champ libre pour l’augmentée et la réalité virtuelle. L’enregistrement IP illimité sur la version 4.5
NDI Tools est une suite gratuite de friandises conçues pour un flux de travail vidéo sur le réseau.
Enregistrez des vidéos en temps réel à partir de toutes les applications compatibles Spout.
Lightjams Spout Recorder est un utilitaire gratuit et indispensable à mettre dans sa boite à outils vidéo. Il créer des fichiers vidéo dans différents formats en capturant la sortie vidéo de Spout de tout logiciel compatible (HeavyM, Resolume, Simmetri, ModuloPi, TouchDesigner, Processing, Notch, Grand VJ, Avolites, Sparck et tant d’autres.). Le recoder utilise FFMPG avec le codec H264, multi encapsuleur en MOV, AVI, WMV et MP4 sans perte suivant les réglages.
Following the expansion of COVID-19, our team is switching to a “mobile mode” which we are used to. Our services will continue as usual, thus do not hesitate to reach us.
Of course, stay safe and let’s do our best to prevent our hospitals from being saturated, so that each sick person (cover or not) can be cured in the best conditions.
Take care. Philippe de Millumin
This installation we are doing with @janebeta7 at the @upfbarcelona pays tribute to all the women who worked in the textile factory Ca l'Aranyó since its opening in 1877. .
#llumbcn #llumbcn20 #videomapping #frame #videodesign #visualist #generativeart #millumin #madmapper #nightphotography #lightskin #lightworker #lighthouse (at Master Universitario en Artes Digitales UPF-IDEC)