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Aujourd’hui — 31 mars 2020Vos flux RSS

Houdini Hive : les vidéos des présentations disponibles en ligne

Par Shadows

La semaine passée se tenait Houdini Hive, évènement organisé par SideFX autour de l’utilisation de son logiciel Houdini dans le jeu vidéo et le temps réel.
Si vous avez manqué le direct, les présentations sont désormais en ligne et visibles ci-dessous. Le site de l’évènement vous en dira plus sur les intervenants.

L’article Houdini Hive : les vidéos des présentations disponibles en ligne est apparu en premier sur 3DVF.

Livestreaming DJ Sets in 2020: A Complete How-To Guide

Par Dan White
Live Streaming DJ Sets in 2020

In the last two weeks, the world has seen a massive increase in the amount of DJ sets streamed to the internet. With clubs across the world shuttering their doors and artists staying home, many have taken to sharing their own creative expressions via livestream. Before you dive into streaming DJ sets, make sure you […]

The post Livestreaming DJ Sets in 2020: A Complete How-To Guide appeared first on DJ TechTools.

Virtual training. Live on Facebook.⁣ ⁣● Intro to Millumin + best...



Virtual training. Live on Facebook.⁣
⁣● Intro to Millumin + best “hidden tips”⁣
⁣● Streaming starting Tuesday at 14:00 UTC⁣
⁣● Come in and chat⁣
⁣http://millum.in/live ⁣
⁣#millumin #live #training #streaming #facebook
https://www.instagram.com/p/B-VUT6mJ6_K/?igshid=1mu0irxg86tjx

LLUERNIA AT HOME – ES

Par Marta Minguell

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!

The post LLUERNIA AT HOME – ES appeared first on Audiovisualcity.

À partir d’avant-hierVos flux RSS

NUGENS’s Surround Mix is Essential to Audio Post-Production for Today’s Evolving Media

Par D Pagan Communications

LEEDS, UK, MARCH 25, 2020 – NUGEN Audio’s Surround Suite offers a complete set of tools for  upmixing, downmixing and multi-channel sound reshaping for the production market. Featuring the company’s Halo Downmix, Halo Upmix, ISL True Peak limiter and SEQ-S match and morph EQ software, NUGEN’s Surround Suite is perfect for both movie and television ...

The post NUGENS’s Surround Mix is Essential to Audio Post-Production for Today’s Evolving Media appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Live streaming the Sunday sermon with Shogun 7

Par Denise Williams

With live-streaming soaring, the class-leading Shogun 7 HDR monitor-recorder-switcher is in high demand. It’s easy-to-use live switching and multi-channel ISO recording function make it quick and easy to deploy into settings from houses of worship to colleges, to vloggers front rooms. It offers a no stress setup to create live multi-camera content in no time ...

The post Live streaming the Sunday sermon with Shogun 7 appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

FOR-A Delivers Video Switcher Integration with Technology Partners for Live Production Solutions

Par Pipeline Communications

Cypress, CA, March 24, 2020 – FOR-A Corporation of America has built integrated live production solutions that combine its HANABI series of video switchers with Variant Systems Group replay systems, ClassX graphics and playout software, ODYSSEY Insight video servers, and Brainstorm Multimedia virtual studios.   “Together with our technology partners, FOR-A is creating live production ...

The post FOR-A Delivers Video Switcher Integration with Technology Partners for Live Production Solutions appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

How to sell virtual tickets

Par Paul Richards

Learn how to sell virtual tickets Virtual tickets are great ways of increasing the excitement and revenue for your event. In a new book called The Virtual Ticket, Paul Richards the Chief Streaming Officer for PTZOptics reviews how any event can add a virtual ticket experience to become more profitable. Using a virtual ticket for ...

The post How to sell virtual tickets appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

GRAVITY MEDIA’S UK POST-PRODUCTION RENTAL DIVISION MOVES TO BIGGER FACILITY

Par rlyl

Business formerly known as HyperActive Broadcast switches operations to new base near Farnborough Airport  Watford, UK, 23 March 2020 – Gravity Media, the leading global provider of complex live broadcast facilities and production services to content owners, creators and distributors, has moved its UK post-production equipment rental business to a larger facility. Its new home is a 15,000 square foot (1,400 square metre) building including purpose ...

The post GRAVITY MEDIA’S UK POST-PRODUCTION RENTAL DIVISION MOVES TO BIGGER FACILITY appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

IPV Names Highly Experienced Broadcast Media Leader Philip McDanell as Chairman

Par Page Melia PR

CAMBRIDGE, UK, 23 March 2020: Industry leading media asset management software provider IPV today announced the appointment of Philip McDanell as Chairman of the Board. McDanell is a highly knowledgeable executive director with extensive experience in the media and technology sector, having held senior board positions at MTV, Chrysalis Group, and most recently Peach, formerly ...

The post IPV Names Highly Experienced Broadcast Media Leader Philip McDanell as Chairman appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

FOR-A Switchers, Routers Support 12G-SDI Infrastructures for 4K/8K Live Production Workflows

Par Pipeline Communications

Cypress, CA, March 19, 2020 – FOR-A Corporation of America continues to develop products that support 12G-SDI infrastructures for live production workflows. Among its offerings are the new MFR-4100 and MFR-6100 12G/6G/3G/HD/ASI routing switchers, as well as the HVS-6000 Series of HANABI video switchers, which support HD and 4K production.   “For live event production ...

The post FOR-A Switchers, Routers Support 12G-SDI Infrastructures for 4K/8K Live Production Workflows appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Atomos marks 10-year anniversary with Shogun 7 promotion

Par Denise Williams

Atomos continues its 10-year anniversary celebrations with the launch of a special offer on its popular Shogun 7 monitor-recorder-switcher. From March 13, 2020, customers purchasing a Shogun 7 can choose between two complimentary gift options. For professionals looking to upscale their workflow, there’s the option to add a Shinobi SDI five-inch HDR monitor to their ...

The post Atomos marks 10-year anniversary with Shogun 7 promotion appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Inside The Mix With Ana Monte And Daniel Deboy

Par D Pagan Communications

Q: Tell me about the company. What inspired you both to start Delta Soundworks? Ana:Founded by myself (Ana Monte, lead sound designer) and Daniel (Deboy, lead sound engineer) in Heidelberg, Germany in 2016, DELTA Soundworks is a 3D/immersive audio post-production facility. Our projects span across installations, virtual reality, 360-degree films and gaming, as well as ...

The post Inside The Mix With Ana Monte And Daniel Deboy appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

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




⁣⁣
⁣#repost @desilence_⁣
⁣__________________⁣
⁣⁣
⁣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)
https://www.instagram.com/p/B94OIV5pudn/?igshid=118x9p08zfcln

Half Life : Alyx offert pour l’achat d’un casque HTC Vive Cosmos Elite

Par Gwendal P
vive cosmos elite HLA

C’est aujourd’hui 18 mars que sort le Vive Cosmos Elite. HTC annonce que le jeu Half Life : Alyx est offert pour tout achat du casque.

HTC ne fait pas les choses à moitié pour la sortie de son casque Vive Cosmos Elite. L’entreprise taïwanaise a en effet annoncé que pour l’achat d’un exemplaire de ce casque, le jeu Half Life : Alyx est offert. Elle rejoint ainsi Valve qui proposait la même offre avec l’Index. Un code du jeu sera donc envoyé le 23 mars, jour de sa sortie, aux propriétaires du Vive Cosmos Elite. HTC précise toutefois que leur stock est limité, sans dévoiler de chiffres. Pour être certain d’avoir sa copie, il va falloir faire partie des premiers acheteurs.

Dans un communiqué, Yves Maitre, CEO de HTC s’est exprimé à propos du jeu de Valve : « Avec Alyx, nous pensons que Valve offre une expérience et une expertise qui permettront de faire avancer le gameplay VR. ». Graham Wheeler, General Manager EMEA chez HTC Vive a également tenu un discours élogieux à son égard : « Half-Life : Alyx repousse les limites du jeu immersif avec une expérience VR à couper le souffle, pleine de dangers et de tensions, luttant contre le Cartel dans des confrontations mortelles. ». Cela confirme encore un peu plus le véritable statut de Blockbuster du jeu en réalité virtuelle qu’est Half Life : Alyx.

Le Vive Cosmos Elite mise sur la modularité

HTC mise ainsi gros sur le jeu phénomène de Valve. Le fabricant tawaïnais espère que cela profite à son casque Vive Cosmos. En effet, après un accueil mitigé par les adeptes de réalité virtuelle, ce modèle a connu des ventes décevantes. Avec la sortie de la version Elite, HTC lance peut-être l’une de ses dernières cartouches dans la bataille des casques grand public.

Pour rappel, le Vive Cosmos se positionne comme un casque VR haut de gamme pour PC. Les nouveautés de la série Elite permettent d’ajouter une façade de tracking, tandis que deux stations de base SteamVR l’accompagnent. La modularité est donc le maître-mot sur lequel HTC a travaillé. Ce matériel devrait être capable d’évoluer au fil du temps et de proposer une expérience en réalité virtuelle, ainsi qu’en réalité mixte. Disponible dès aujourd’hui, 18 mars, le Vive Cosmos Elite est en vente au prix de 999 euros. Et Half Life : Alyx est inclus avec.

Cet article Half Life : Alyx offert pour l’achat d’un casque HTC Vive Cosmos Elite a été publié sur Réalité-Virtuelle.com.

Overlap Interview

Par Hayley Cantor

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photo still from Overlap’s project, Lipstick Earth

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

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

Photo courtesy of overlap.co.uk

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

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

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

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

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

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

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

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

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

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

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

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

Find out more about Overlap on their artist page

The post Overlap Interview appeared first on Audiovisualcity.

4 simple things DJs and producers can do to thrive in isolation

Par Ean Golden

For the last 6 months, I’ve been living a life that in many ways mimics the challenging scenario many of us face now. Through that time, and in the last 20 years of working as a independent artist, I’ve developed a simple set of disciplines that have allowed me to thrive in the world when […]

The post 4 simple things DJs and producers can do to thrive in isolation appeared first on DJ TechTools.

Layama : une solution entre panoramiques ennuyeux et VR coûteuse ?

Par Shadows

Motiva a dévoilé Layama, un produit qui entend proposer une solution à mi-chemin entre la réalité virtuelle et les vues 360° avec hotspots utilisées depuis des lustres.

L’éditeur part en fait d’un constat : la réalité virtuelle reste coûteuse et complexe à déployer, et les clients finaux ne sont pas forcément bien équipés. Pour de la visualisation architecturale, cette solution n’est donc pas toujours idéale.
Inversement, l’expérience reste plus agréable que les vues panoramiques à l’ancienne, très statiques.

Voici donc Layama : un outil qui transforme vos projets 3D en une page web qualifiée de “pseudo-VR”. Concrètement, l’outil s’appuie sur une astuce déjà utilisée par certains concurrents (multiplier des vues et créer des transitions douces entre l’affichage de chaque panoramique) mais en poussant davantage le concept. La scène de démo accessible dans un simple navigateur web le montre assez bien : chaque “saut” équivaut finalement à faire un pas dans la scène, et les transitions sont effectivement gérées de façon plus esthétique qu’un simple fondu. En revanche, on est évidemment loin d’un projet temps réel en termes d’immersion.

Layama est payant, compatible 3ds Max (V-Ray et Corona Render), Unreal Engine, Blender (Cycles/Eevee).

L’article Layama : une solution entre panoramiques ennuyeux et VR coûteuse ? est apparu en premier sur 3DVF.

NEP Standardizes on Sony’s HDC-3500 and HDC-5500 4K HDR Live Production Camera Systems

Par Pipeline Communications

Sony Electronics Inc. today announced completion of an agreement with international outsourced technical production partner NEP Group for the purchase of more than 50 Sony HDC-3500L and HDC-5500L cameras. A longtime Sony customer and collaborator, NEP will use these products to support live sports productions and entertainment events worldwide, giving at-home viewers front row seats. ...

The post NEP Standardizes on Sony’s HDC-3500 and HDC-5500 4K HDR Live Production Camera Systems appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Overlap

Par Hayley Cantor

Born in the heart of the VJ boom in the 90s, after their own artistic experimentation, and Michael’s first ever (what we would call now) VJ gig in 1985, Michael Denton and Anna McCrickard formed Overlap in 1998. They are based in Hastings in the UK. Unlike some VJs, who purely focus on the visual side of the art form, Overlap are a an AV collaborative duo in the purest sense of the concept, who also produce minimalist music in parallel with their exploration of both moving and still image. They’ve also performed at many a festival, forming part of a collective of VJs represented by Microchunk.

Their work takes the form of live audiovisual performances, exhibitions, transitional paintings, installations, VJ sets and even prints, and takes on audiovisual culture from a fine art perspective, which makes their work both fascinating and unique in a wide variety of different contexts.

Overlap started VJ-ing and performing AV sets as regular guests of resident VJs Reality Check at Turnmill’s club (The Gallery, London Calling) in 1998, guesting with Reality Check at The Chemical Brothers’ headline set at Turnmill’s Millenium gig in London’s Docklands. The next decade saw Overlap’s visuals splashed across screens at major international festivals including Creamfields, Andalucia, Electric Picnic Ireland, Glastonbury’s Glade stage, Pete Tong’s Wonderland in Ibiza and Glastonbury’s Glade, as part of the Microchunk visuals boutique. They created visuals for for the Industrial Resolution installation at the first Manchester International Festival: performed live on the largest indoor screen in Europe, accompanying the world’s leading DJs including Carl Cox, Fatboy Slim, Laurent Garnier, Layo, Pete Tong and Sasha. Overlap also played regular VJ slots at Razzmatazz (Loft), Barcelona and Pete Tong’s Wonderland, Eden, Ibiza (Deadmau5, Groove Armada). Overlap were commissioned by Microchunk to animate Damien Hirst artwork for Pete Tong’s Ushuaia at Le Grand Bazaar, Ibiza in 2013. 

Overlap also work with the Noise of Art collective as resident VJ-s and moving image artists. Their fine art single screen video works have been screened at the ICA, BFI and Tate Modern. Recent projects include:- a celebration of 100 Years of Electronic Music at the National Portrait Gallery London; Forest Tree limited edition for Sedition Art; audiovisual “painting” installations for the National Trust’s Fenton House and Calke Abbey; opening the Arquiteturas Film Festival in Lisbon with their Places that Dance AV set; short films “Returning” and “Switch” awarded special mentions at the Avanca and EMAF film festivals; an audiovisual performance in the British Ambassador’s Residence in Beijing. Recent art screenings/performances of their works have included Aquatint at Riders on the Mall/ROM, MUSZI, Budapest and Digital Graffiti, Florida, Forest Tree at STRP Biennale at Strijp S in Eindhoven and Cloud Edged at Light Fantastic, House of Nobleman, Frieze.

Perhaps one of the most poignant aspects of their audiovisual artwork is its accessibility and ability to be embraced and engaging in such an extensive mixture of spaces, including performances and installations everywhere from music festivals (Creamfields, Splice festival, Madatac, Fiber, Generate, Big Chill, STRP Biennale); and night clubs (Razzamatazz, Barcelona, Wonderland – Eden, Ibiza), to prestigious galleries (Tate Modern, Pompidou, National Portrait Gallery, the Victoria and Albert Museum), as well as being featured in some important publications on VJ culture, such as Audio – Visual Art and VJ Culture (2006) They even remixed and VJed The Beatles Magical Mystery Tour film for its cinema première at the South Bank with Noise of Art at London’s BFI.

Their working process involves adding and removing layers, degrees of opportunism and systematised chance, creating generative combinations ranging from slow transitional paintings, to fast flowing AV performances. 

Their most recent work includes Transitional Landscape, designed for exhibition and art installation, ‘Rooms’, which explores the relationship between indoors and outdoors, combining and fusing luscious wallpaper motifs with beautiful organic landscape scenes. It juxtaposes man-made life with that of the wonders of the natural world.  

Find out more about their work here:

Website | Seditionart | Bandcamp | Vimeo

The post Overlap appeared first on Audiovisualcity.

⁣ ⁣⁣ ⁣#repost @studio_phormatik⁣ ⁣__________________⁣ ⁣⁣ ⁣We...




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

Calrec — Chuck Ibey, A1 Mixer: A craft interview

Par Jump

What is your background and how did you get into broadcast sound? I have been in live broadcast television since I was 17 and just about to graduate high school. I knew I wanted to be involved in audio, and at first I wanted to be in music. I wanted to tour with a band ...

The post Calrec — Chuck Ibey, A1 Mixer: A craft interview appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

HTC tiendra sa prochaine conférence directement en VR

Par Gwendal P
annonce V²EC en VR

HTC a annoncé que sa Virtual Vive Ecosystem Conference se déroulera en réalité virtuelle. Le fabricant prend ainsi les devants sur une annulation plus que probable à cause du coronavirus.

Dans un contexte international très défavorable, le président de HTC Vive China Alvin Wang Graylin n’a pas annoncé l’annulation de la prochaine conférence HTC. À la place, la Virtual Vive Ecosystem Conference (V²EC) se déroulera intégralement en réalité virtuelle. En évitant de reporter, voire d’annuler son événement, HTC lance ainsi la première conférence du secteur en VR. Cette dernière aura lieu le 19 mars sur la plateforme Engage. Elle sera accessible à tous les détenteurs d’un casque VR dans une expérience virtuelle avec 6 degrés de liberté. Pour ceux qui ne possèdent pas ce matériel, une version vidéo classique sera disponible pour PC, tablettes et smartphones.

La VR : support de prédilection pour une conférence sur la réalité virtuelle

L’année dernière, Shenzhen avait accueilli la V²EC. HTC en avait profité pour faire de nombreuses annonces. En effet, la firme chinoise avait levé le voile sur le Vive Focus Plus, et sur un partenariat avec Qualcomm entre autres. Il devrait en être de même cette année. Or, une conférence en réalité virtuelle semble vraiment adaptée à cette thématique. Il apparaît évident que les personnes qui s’intéressent à ce sujet possèdent un casque pour profiter de l’événement. En revanche, il ne sera pas possible de tester physiquement les nouveautés dévoilées. Cela devrait être le cas pour les façades modulaires du Vive Cosmos.

Comme auparavant, la V²EC est ouverte aux développeurs. Ceux qui le souhaitent peuvent s’inscrire sur la page prévue à cet effet sur le site de la plateforme Engage, puis télécharger l’application pour Windows 10. Elle supporte la plupart des casques Oculus, Rift, ainsi que celui de Valve et ceux qui fonctionnent sur Windows Mixed Reality. Les inscriptions seront ouvertes demain, mardi 10 mars. La conférence aura lieu en simulcast en anglais et en chinois, le 19 mars à 02h30, heure française.

Cet article HTC tiendra sa prochaine conférence directement en VR a été publié sur Réalité-Virtuelle.com.

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