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Aujourd’hui — 11 juillet 2020Vos flux RSS

VJ Suave

Par : Marco Savo


Ceci Soloaga and Ygor Marotta are a duo of audiovisual artists based in São Paulo, Brazil.

VJ Suave bring something colorfully unique to the international panorama of audiovisual art. They have been combining street art and projection mapping since 2009.

Thanks to their innovative audiovisual approach, they are able to travel around the city with portable projectors and draw with lights on the streets, buildings and landscapes. In real time. Improvising. Like a graffiti writer would do.

VJ Suave - Audiovisual artist

Audiovisual and street art are in my opinion the true forms of contemporary art, as they reduce the distance between the art world and the people. They speak a more familiar language than any other art forms. They are anti-elitist by nature, not as a result of a specific political statement.

Vj Suave audiovisual live stories are called “Suaveciclos”. They make use of Tagtool, an app for tablet allowing drawings in real time.

These itinerant projection mappings are colorful, imaginative and highly engaging. Kids absolutely love them as they perceive immediately the drawings are made specifically for them to play with.

VJ Suave - Audiovisual artists
VJ Suave create fantasy friendly characters on the go that take on the streets, riding on ethereal light beams. As they come they disappear. Only to then reappear somewhere else. Constantly playing catching up.

It’s very hard not being immediately charmed by their delicately funny audiovisual storytelling. And there is no reason to resist! Their communication with the audience is honest, inspiring and most importantly inclusive: none is left out in this projection mapping extravaganza.

More recently the audiovisual artists have been taken a step further allowing the viewers to step into their visionary world by using VR.

In their enchanted forest (“Floresta Encantada”) the explorers are invited to build relationships with the native inhabitants of the forest: indigenous and animals. A very powerful example of how virtual reality can be used to get us closer to our ancestors and the natural world rather than alienating us.

The viewer is invited to find their own inner harmony with the sounds and visual elements of the forest in order to become unified with the surrounding environment. The result is an unique experience with plenty of food for thoughts to be snacked upon.

As we often advocate the meaningfulness of the artistic experience depends on the artist intent more than on the tool that is being used.

Contact

Website

Facebook | Instagram | Vimeo | YouTube

The post VJ Suave appeared first on Audiovisualcity.

À partir d’avant-hierVos flux RSS

Steve Gerges

Par : Marco Savo

Steve Gerges has developed an impressive portfolio of commercial projects with top-tier brands, delivering powerful audiovisual storytelling across multiple formats and media.

Nevertheless, we can only appreciate his true artistic self through his mesmerizing audiovisual projects, both conceptually profound and technically advanced.

Many audiovisual artists have to balance their design gigs with their artistic work. When companies hire an artist (rather than a mere designer) they gain an unique creative input empowering the whole marketing campaign. But the actual artistic expression is restricted by the brand identity.

When artists are free to work on the concept as they are on the technical implementation, they deliver a much more powerful and meaningful experience to the viewer.

Steve Gerges began to take an interest in Digital Art in 2000 when he created Visual-Delight, the first collective of VJ’s (visual-jockeys) in Luxembourg. This project allowed him to take his first steps in this innovative art form for that time.

Following a trip to Montreal to the Elektra Festival in 2012, he created his first interactive digital artwork entitled LAN 1.0 at the Carré Rotondes in 2014. Here a few projects we felt best showcased his main features as an audiovisual artist.

ONE

ONE is a generative art sculpture that develops in real time. The audiovisual totem grows and evolves while progressively revealing its organic essence to the viewer.

One tells us the story of the creation of the universe, from the big bang, to energy flows, creation of planets and humankind.

Steve Gerges



RISE OF THE MACHINES

We love this amazing kinetic sculpture that exploits the use of machine programming. Light is the main course of this audiovisual feast. An ethereal force that contours the surrounding space in a beautiful ephemeral moment.



CRONOS

This is an immersive and impressive projection mapping representing the creation of the universe, a recurring them in Steve Gerges work. The audiovisual storytelling features abstract patterns slowly turning into figurative elements.

The viewers is invited to reflect upon the strive of mankind to understand and explore the unattainable complexity of the universe.

There is so much more to explore about Steve Gerges. We strongly invite you to dive deeper into his audiovisual world.

Contact

Website

Facebook | Twitter | Vimeo

The post Steve Gerges appeared first on Audiovisualcity.

ARS ELECTRONICA: 9 -13 September 2020, Linz

Par : Marco Savo



Ars Electronica is THE new media arts festival: a core reference for audiovisual events and artists worldwide.

The festival and its audiovisual artists embrace new technology as a tool for artistic expression rather than the main factor of spectacularization.

This critical approach unlock the infinite creative possibilities within new technologies rather than fetishize them, as we have seen happening a lot with projection mapping and more recently with virtual reality.

ars electronica -audiovisual event

The festival was founded in 1979 by cyberneticist/physicist Herbert W. Franke, electronic musician Hubert Bognermayr, music producer Ulli A. Rützel and Hannes Leopoldseder. It has come a very long way since then but it has always kept its main focus on the intersection of art, technology and society.

One of the most appealing elements of the festival is The Prix Ars Electronica: the most prestigious prize in new media arts, with hefty prizes up to 10.000€. Every year the Golden Nica is awarded to the ground-breaking fruits of artistic experimentation from audiovisual artists worldwide.

Prix Ars Electronica - Audiovisual event - open call

Ars Electronica features a wide variety of activities every year: Symposia, exhibitions, performances, concerts and interventions spanning a broad arc from speculative futuristic scenarios to analytical considerations, from provocative actionism to philosophical debate.

Combining amazing artworks with fruitful conversations is the perfect recipe to create a meaningful experience that constantly scans the new media landscape to find the most inspiring projects. The projects are not simply chosen based on their technical realization but most importantly because the social and artistic innovation they incorporate.

The result of this consistent endeavour is the creation of a loyal community of audiovisual artists, researchers and visitors from all over the world that every year reunites in Linz to inspire and get inspired.

 deep space live - fata morgana - audiovisual artists
Deep Space LIVE – Fata Morgana

Since its inception, the festival has been dedicated to develop new themes for each edition and the organizers are also constantly on the lookout for interesting new venues.

Indeed, the ongoing effort to break out of the narrow confines of conventional conference rooms and artistic spaces, and to stage cultural and scientific encounters in the public sphere has become something of an Ars Electronica trademark.

Stay tuned: Ars Electronica 2020 theme will be released soon!

Contact

Website

Facebook | Twitter | Instagram | YouTube

The post ARS ELECTRONICA: 9 -13 September 2020, Linz appeared first on Audiovisualcity.

360 GALLERY ARTIST IN RESIDENCE 2020 – Krakow

Par : Marco Savo



DEADLINE: 15/07/2020


We love to discover and share juicy opportunities for audiovisual artists such as this open call promoted by Photon Foundation in Krakow.

Their hybrid solution is an effective response to the uncertainty of our current situation and a great compromise. We are sure audiovisual artists worldwide will massively appreciate their effort!

Photon Foundation is pulling off a great home edition this year. The organizers of Patchlab Festival are giving the chance to three selected artists to create a 360 second long rendered audiovisual projects, specifically designed for the projection system at the Gallery 360°.

The audiovisual installation will be recorded and publicly presented online as the culmination of the residence. Later on, when audiovisual events will kick back on the projects will be actually presented in the 360° Gallery with participation of the audience.

Open call for audiovisual artists

The 360° Gallery features a mind-boggling set up with 10 projectors displaying images with 16910×1080 pixels resolution. That opens up immense creative opportunities to generate a fully immersive environment.

During the 31-day #home edition residence, between 15/09/2020 – 18/10/2020, the selected audiovisual artists (or artistic groups) are going to work in their home or studio on their own audiovisual project.

The selected artists will have remote contact with the organizational and technical team and co-residents, as well as the possibility of conducting 2 remote attempts to display the work on the projection system in the 360° Gallery in order to check the accuracy and allow for possible corrections.

The following criteria will be taken into account in the selection of the winning projects:

  • artistic values ​​of the concept (e.g. originality, ingenuity)
  • consistency and accuracy in preparing the project concept
  • project feasibility according to the technical specification of the 360​​° Gallery projection system
  • artistic portfolio

APPLY HERE

The post 360 GALLERY ARTIST IN RESIDENCE 2020 – Krakow appeared first on Audiovisualcity.

COSMOLIGHTS – Open Call for Projection Mapping

Par : Marco Savo



DEADLINE EXTENDED: 10 July 2020 20 July 2020

The new kid on the block of the open calls for projection mapping. Cosmopolis Festival invites all audiovisual artists to submit their mapping proposals for the Municipal Tobacco Warehouse of Kavala in Northern Greece.

The building was erected in 1910 and features a ottoman neoclassical design style. The purpose of the open call is to highlight the architectural patterns of the facade and the history of the building through audiovisual techniques

The 3 Finalists of the competition, who will be selected by audience and the festival curators, will each receive a prize.

The winner of the contest will receive the Grand prize of 1500€. The second and third place will receive 1000€ and 500€ respectively.

READ MORE ABOUT THE OPEN CALL

The post COSMOLIGHTS – Open Call for Projection Mapping appeared first on Audiovisualcity.

SHARJAH LIGHT FESTIVAL: 05 -15 February 2020



Sharjah Light Festival illuminates the Emirate once a year showcasing local talent and internationally renowned audiovisual artists.

The audiovisual event features eye-opening displays of colors, images and lights inspired by a variety of subjects such as beauty, science, creativity and knowledge. 

The yearly festival attracts hundreds of thousands of visitors and takes them on a tour of cultural heights, music, artistic ingenuity and technical skills. Projection mapping artworks and lighting installations illuminate the beautiful architecture of Sharjah.

The festival fuses all the components of beauty, art, culture, education, innovation and higher thinking into one glorious event. 

It includes rich programmes, grouped into clusters based on up to 20 locations with new highlights every year showcase the architectural splendour of Sharjah and the beauty of its buildings.

Utilising creative and innovative light technology and specifically curated music, the architectural landmarks of the emirate, such as Al Noor mosque, Al Hisn Fort, Sharjah University City Campus as well as others can literally be seen in a new light.

Many of the designs are poetic and inspired by local culture, stories and traditions or incorporate nature and space, some are based on more modern art and design, all are beautiful and thought provoking.

The Sharjah Light Festival extends to the east coast towns of Dibba, Khorfakkan and Kalba. The 2019 edition featured well known artists and curators such as Larent Langlois, Cindy Lo, Studio Halpeji and Group F

Website

Facebook | Youtube | Instagram

The post SHARJAH LIGHT FESTIVAL: 05 -15 February 2020 appeared first on Audiovisualcity.

Interview to Genius Loci Weimar

Par : Marco Savo

We have supported Genius Loci Weimar and promoted their open call for audiovisual artists since their early start.

We felt now was the perfect time to interview the organizers of the projection mapping festival. One of the fastest growing audiovisual events in Europe. (German version below)

1. Can you tell us about the history, concept ans goals of Genius Loci Weimar?

The history of Genius Loci Weimar began 8 years ago, in 2012, when, as part of various regional development initiatives, we were looking for a concept that could combine modern media and historical heritage.

This is how the Genius Loci Weimar Festival came into being, initially on a smaller scale, which has since developed into an event with up to 50,000 visitors annually. The concept has always been to deal with the “spirit of the place” and its individual history, the “Genius Loci”.

We want to achieve several things with GLW: Always present is the goal of presenting aesthetically pleasing and high-quality artworks in Weimar. In addition, we also want to create a positive public and to address audiences of all ages and backgrounds throughout the festival.

As already mentioned, the “Genius Loci” is the focus of our artistic works. It is therefore also the goal to discuss history and to stimulate historical-cultural reflection, which certainly also has political and social aspects.
Another goal is to create and develop our own format, a brand that can provide a framework for the production of artistic works in this field.

The projection mapping scene is still quite young. Visibility, communication and networking are therefore also important concerns of our festival. Especially through the programme formats TALK, CLUB and LAB. There, in the LAB, the support and encouragement of young talents is increasingly taking place.

The AV media are to be further established as an art form and artistic format and to move away from the “avant-garde” or even “nerd corner”, in which they are still often located. To emphasize their potential as an aesthetic direction with different artistic styles and tastes is the goal of Genius Loci Weimar.



2. The festival advocates the importance of video mapping as an audiovisual tool to deliver relevant contents, rather than mere entertainment gimmick. How do you think GLW have been impacting the relationship between the community and the architectonic heritage of the city?



Thanks to the festival, a considerable exchange takes place every year on several levels within the city. The citizens of Weimar have become real “fans” of the festival and its formats and are curiously looking forward to seeing which new locations will be played at each year and can be experienced in new ways.

Thus, in addition to very prominent buildings such as the National Theatre or the Herderkirche in the city centre, the Ilmpark and a squatted house in Gerberstraße have already been in the spotlight.

Especially at controverse locations, such as Gerberstraße 3, exciting exchanges can arise: There, the “bourgeoisie” became observer of the usually sceptically eyed façade of the squatted house, the inhabitants of the house project became hosts at the same time – also for the otherwise avoided “establishment”. An exciting situation for everyone, which can only arise during a live event and on-site.

Genius Loci Weimar 2015 Winner - Audiovisual Event

However, in any case, reflection is always encouraged: exchange and examination of past times and other lifestyles. The buildings also appear in new contexts, the library was once filled with fictitious visions or the theatre was shown as an important place of democracy. The selection and the type of performance should always have a very specific effect.

The fact that the concept is sustainable can be seen from the fact that other projection festivals are following up, launching similar strategies or even asking for a transferable concept.

In the end, the awareness for places and cities is always sensitized by the unique, site-specific spectacles.



3. GLW Open Call is the core of the festival. Can you explain the complex decision process you undertake every year to award the three prizes? Are there any project that have been particularly relevant for you in the past editions?


The audiovisual event starts already in spring with the publication of our Open Call and the announcement of the three competition buildings. A prize money of 15.000 Euro per building is awarded and we receive applications with artistic projects from all over the world during the competition period.

At the end of the competition, the applications will be judged by a jury of experts, while the public will also be able to vote at this early stage to decide who will perform their work in late summer.

During the past eight festival editions, a wide range of artistic styles were chosen as competition winners. Exciting, for example, was last year’s masterfully implemented, seemingly interactive audiovisual performance by Jonas Denzel on the façade of the newly opened Bauhaus Museum in Weimar.



Of 2016, the combination of live performance and video projection on a surface of water from Dieselqueen is also remembered.



Or the already mentioned mapping with the title “Grain Metal Punk” by VJZARIA on the façade of the squatted house in Gerberstraße.



4. During these uncertain times many audiovisual events decided to implement hybrid or online formats. Can you tell us about GLW position in the current scenario?


Genius Loci Weimar continues to believe in the presence and magic of live events. We continue to believe in video mapping as a unique, ephemeral and sensual event, accompanied by overwhelming sound and an immense size that can be experienced collectively in public space. This is why we continue to focus on the live event on-site.


5. How do you see Genius Loci Weimar in the next 10 years?


Genius Loci Weimar aims to further extend its constant growth path of recent years. As a festival and brand, GLW will continue to grow in breadth, but also in depth.

The reflective formats such as the relatively new TALK will continue to be expanded and refined. AV hybrids as a stage format, as has been the case with AV cinema in recent years, are also to be further developed and refined.

In the middle and long term, closer cooperation with universities is also conceivable, for example in the form of the creation of a new institute or similar. However, the core will always be the video and its connection to the historical heritage of the city!


Discover more about the audiovisual event




GERMAN VERSION

Können Sie uns etwas über die Geschichte, das Konzept und die Ziele von Genius Loci Weimar erzählen?

Angefangen hat die Geschichte von Genius Loci Weimar bereits vor 8 Jahren, im Jahr 2012. Im Rahmen verschiedener Initiativen zur Regionalentwicklung suchten wir nach einem Konzept, das es schafft, moderne Medien und historisches Erbe miteinander zu verbinden. Dabei entstand das Genius Loci Weimar Festival, zunächst in kleinerem Umfang, das sich inzwischen zu einer Veranstaltung mit bis zu 50.000 Besucher*innen jährlich entwickelt hat. Das Konzept war dabei schon immer die Auseinandersetzung mit dem „Geist des Ortes“ und seiner individuellen Geschichte, dem „Genius Loci“ eben.

Wir möchten mit GLW mehre Dinge erreichen: Immer präsent ist natürlich das Ziel, ästhetisch ansprechende und hochwertige Kunstwerke in Weimar zur Aufführung zu bringen. Dazu kommt aber auch der Anspruch, eine positive Öffentlichkeit zu schaffen und mit dem Festival milieu- und altersübergreifend Zuschauer*innen anzusprechen.

Wie schon eben gesagt steht der „Genius Loci“ im Mittelpunkt unserer künstlerischen Arbeiten. Es ist also auch Ziel, Geschichte zu thematisieren und zu einer historisch-kulturellen Reflexion anzuregen, die durchaus auch politische und gesellschaftliche Facetten in sich trägt.

Ein weiteres Ziel ist das Erschaffen und Weiterentwickeln eines eigenen Formats, einer Marke, die der Produktion von künstlerischen Arbeiten in diesem Bereich einen Rahmen geben kann.

Die Videomapping-Szene ist noch recht jung. Sichtbarkeit, Kommunikation und Vernetzung sind also auch wichtige Anliegen unseres Festivals, insbesondere durch die Veranstaltungsteile TALK, CLUB und LAB. Dort, im LAB, findet auch verstärkt die Nachwuchsförderung statt. Die AV-Medien sollen als Kunstform und als künstlerisches Format noch weiter etabliert werden und heraus aus der „Avantgarde-“ oder sogar „Nerd-Ecke“, in der sie noch teilweise verortet werden. Ihr Potenzial als eine ästhetische Richtung mit unterschiedlichen künstlerischen Stilen und Geschmacksrichtungen herauszustellen, ist Ziel von Genius Loci Weima

Das Festival befürwortet die Bedeutung von Video-Mapping als audiovisuelles Instrument zur Vermittlung relevanter Inhalte und nicht als bloßen Unterhaltungsgag. Wie hat GLW Ihrer Meinung nach die Beziehung zwischen der Gemeinschaft und dem architektonischen Erbe der Stadt beeinflusst?

Innerhalb der Stadt findet dank des Festivals jedes Jahr aufs Neue ein erheblicher Austausch auf mehreren Ebenen statt. Die Weimarer*innen sind inzwischen zu richtigen „Fans“ des Festivals und seiner Formate geworden und erwarten gespannt, welche neuen Orte jedes Jahr bespielt und auf neue Weise erfahren werden können.

So war neben sehr prominenten Gebäuden wie dem Nationaltheater oder der Herderkirche in der Innenstadt auch schon der Ilmpark und ein besetztes Haus in der Gerberstraße im Rampenlicht.

Gerade an kontroversen Orten, wie beispielsweise der Gerberstraße 3, können spannende Begegnungen entstehen: Das „Bürgertum“ wurde dort zum Betrachter der sonst so skeptisch beäugten Fassade des besetzten Hauses, die Bewohnerinnen des Hausprojekts wurden gleichzeitig zu Gastgeberinnen – auch für das sonst gemiedene „Establishment“. Eine spannende Situation für alle, die so nur im Moment eines Live-Events vor Ort entstehen kann.

Auf jeden Fall wird aber immer zur Reflexion angeregt: Austausch und Auseinandersetzung mit vergangenen Zeiten und anderen Lebenswelten. Auch die Gebäude treten in neuen Kontexten auf, die Bibliothek wurde einmal mit fiktiven Gebäudevisionen bespielt oder das Theater als Ort der Demokratie thematisiert. Die Auswahl und die Art der Bespielung sollen dabei immer eine ganz bestimmte Wirkung erzielen.

Dass das Konzept trägt, sieht man auch daran, dass andere Projektionsfestivals nachlegen und ähnliche Konzepte an den Start bringen oder sogar nach einem übertragbaren Konzept anfragen.

Letztlich wird immer das Bewusstsein für Orte und Städte durch die einmaligen, ortsgebundenen Spektakel sensibilisiert.

Der GLW Open Call ist das Herzstück des Festivals. Können Sie den komplexen Entscheidungsprozess erklären, den Sie jedes Jahr für die Vergabe der drei Preise durchführen? Gibt es Projekte, die für Sie in den vergangenen Ausgaben besonders relevant waren?

Das Festival beginnt bereits im Frühjahr mit der Veröffentlichung unseres Open Calls und der Bekanntgabe der drei Wettbewerbsgebäude. Pro Gebäude ist ein Preisgeld von 15.000 Euro ausgelobt und uns erreichen im Wettbewerbszeitraum Bewerbungen mit künstlerischen Projekten aus der ganzen Welt ein.

Nach Ende werden die Bewerbungen zum einen von einer Expert*innenjury beurteilt, und zum anderen kann auch das Publikum bereits an dieser frühen Stelle mit Hilfe des Public Votes mitbestimmen, wer im Spätsommer seinen Wettbewerbsbeitrag zur Aufführung bringen wird.

Während der vergangenen acht Festivaleditionen konnte eine große Bandbreite an künstlerischen Stilen als Wettbewerbssieger*innen gekürt werden. Spannend war zum Beispiel im letzten Jahr die gekonnt umgesetzte, scheinbar interaktive, audiovisuelle Performance von Jonas Denzel auf der Fassade des neu eröffneten Bauhaus-Museums in Weimar.

Aus 2016 ist aber auch die Kombination aus Live-Performance und Video-Projektion auf eine Wasserfläche von Dieselqueen in Erinnerung geblieben.

Oder das schon angesprochene Mapping mit dem Titel „Grain Metal Punk“ von VJZARIA an der Fassade des besetzten Hauses in der Gerberstraße.

In diesen unsicheren Zeiten haben sich viele audiovisuelle Veranstaltungen entschieden, hybride oder Online-Formate einzusetzen. Können Sie uns über die Position des GLW im aktuellen Szenario berichten?

Genius Loci Weimar glaubt auch weiterhin an die Präsenz und die Magie des Live-Events. An das Videomapping als einmaliges, vergängliches und sinnliches Ereignis, begleitet von überwältigendem Sound und einer immensen Größe, das kollektiv im Stadtraum erfahren werden kann. Deshalb fokussieren wir uns auch weiterhin auf die Live-Veranstaltung vor Ort.

Wie sehen Sie Genius Loci Weimar in den nächsten 10 Jahren?

Genius Loci Weimar will seinen konstanten Wachstumspfad der letzten Jahre weiter ausbauen. Als Festival und Marke soll weiter in die Breite, aber auch in die Tiefe gewachsen werden. Die reflektiven Formate wie etwa der noch recht neue TALK sollen auch weiterhin ausgebaut und verfeinert werden. Auch die AV-Hybride als Bühnenformat, wie beim AV-KINO in den letzten Jahren schon geschehen, soll noch weiter verfeinert werden.
Mittel- und Langfristig ist aber auch eine engere Kooperation mit Hochschulen, etwa in Form der Schaffung eines eigenen Instituts oder ähnliches denkbar

Kern wird aber immer das Video und seine Verknüpfung mit dem historischen Erbe der Stadt bleiben!

The post Interview to Genius Loci Weimar appeared first on Audiovisualcity.

Resolume 6 Tutorial: LED Stage Mapping

Par : docoptic
https://youtu.be/evwRGc4DCQg This tutorial demonstrates the process of video mapping on LED panels in Resolume. We discuss how LED processors are designed and how you can use the Advanced Output to display content onto the exact portions of an LED video signal. We show you how to properly resize and

This tutorial demonstrates the process of video mapping on LED panels in Resolume. We discuss how LED processors are designed and how you can use the Advanced Output to display content onto the exact portions of an LED video signal. We show you how to properly resize and position the slices from Input Selection to match LED processor specifications. When mapping onto a stage with multiple LED panels, we show how a 4 screen LED setup would work by using a photo as a guide and roughly matching the stage configuration. Lastly, we provide examples for using the Slice Transform effect to display content onto specific LED screens or panels.

The post Resolume 6 Tutorial: LED Stage Mapping appeared first on DocOptic.

Resolume 6 Tutorial: Structure Mapping

Par : docoptic
https://youtu.be/G2RigLJhEjM This tutorial demonstrates projection mapping on a poylgonal structure in Resolume. We show you how to set up an input map on the 5 faces of a pentagon stage by creating an ideal model which is then aligned to the actual structure with a projector. Some of the concepts w

This tutorial demonstrates projection mapping on a poylgonal structure in Resolume. We show you how to set up an input map on the 5 faces of a pentagon stage by creating an ideal model which is then aligned to the actual structure with a projector. Some of the concepts we go over are using a photo as a guide to get the correct proportions of each pentagon face, how to use the Advanced Output tools efficiently, using math in Resolume’s interface to get precise angles, and how to ensure that content is displayed in the middle of an object. We also cover how the Slice Transform effect can be used to trigger content on specific faces of the pentagon.

→ Next Lesson: LED Stage Mapping

The post Resolume 6 Tutorial: Structure Mapping appeared first on DocOptic.

Resolume 6 Tutorial: Projection Mapping Basics

Par : docoptic
https://youtu.be/ZB6Ql0Fvle0 This tutorial goes over the basics of projection mapping in Resolume. We provide a hands-on demonstration showing how to set up your composition and create slices for a stage of four squares. We cover the Advanced Output tools and how to use them, input mapping via Input

This tutorial goes over the basics of projection mapping in Resolume. We provide a hands-on demonstration showing how to set up your composition and create slices for a stage of four squares. We cover the Advanced Output tools and how to use them, input mapping via Input Selection, projection mapping on your physical stage using Output Transformation, and using the Slice Transform effect to project onto specific parts of a stage. We also go over how to use effects creatively to alter the look of our projected visuals.

→ Next Lesson: Structure Mapping

The post Resolume 6 Tutorial: Projection Mapping Basics appeared first on DocOptic.

Mettre en lumières un DJ set live avec le vidéo mapping

Par : HeavyM

  Le Collectif Calm propose des scénographies dignes d’un club, à la maison !   Comment le Collectif Calm (Comme à la Maison) . . .

The post Mettre en lumières un DJ set live avec le vidéo mapping appeared first on blog.

Festival de la BD

Par : HeavyM

Un voyage dans l'univers de la BD avec une scénographie signée YMCA.

The post Festival de la BD appeared first on blog.

Clip « Noday » – MP The Kid

Par : HeavyM

  Braingorillas a utilisé HeavyM pout ajouter une atmosphère visuelle sensationelle pour un clip de  MP The Kid. Le studio a co . . .

The post Clip « Noday » – MP The Kid appeared first on blog.

Urban Cosmos

Par : HeavyM

Sharmaine Kwan a réalisé une installation artistique très impressionnante avec du vidéo mapping sur le sol et plusieurs volumes sur un . . .

The post Urban Cosmos appeared first on blog.

Pyramides Pentagonales Polymorphes

Par : HeavyM

  L’artiste française Petronille Leroux a utilisé 2 kits Olga pour élaborer une magnifique installation éphémère en vidéo . . .

The post Pyramides Pentagonales Polymorphes appeared first on blog.

Hello Kinki

Par : HeavyM

« Hello Kinki » est le nouvel événement organisé, tous les vendredi, dans le centre de Bologne (Italie) par Hello Events dans l’un . . .

The post Hello Kinki appeared first on blog.

Uncode Party

Par : HeavyM

VJing en live sur un visage géant signé Aelion project

The post Uncode Party appeared first on blog.

Festival Kurpfuscher

Par : HeavyM

Lumalama illumine le Kurpfuscher Club avec 3 kits Olga.

The post Festival Kurpfuscher appeared first on blog.

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