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Wave Fragment | Studio Verena Bachl

Par studio_verena_bachl
Wave Fragment | Studio Verena Bachl
Wave Fragment is a kinetic light sculpture that is in the ability to display wind-related flow fields by the reflection of light, inspired by the continuous movement of water.

Passifolia — Lightscape / Soundscape

Par beatrice.lartigue
Passifolia — Lightscape / Soundscape
Passifolia is a collective experience, made-to-mesure for La Gaîté Lyrique in Paris and made up of 16 interactive modules organically set up in space.

RAMSA Stadium Audio System, Large Screen Display System, and Camera System Installed at the Ariake Tennis Park

Panasonic Corporation has delivered its RAMSA Stadium Audio System, Large Screen Display System, and Camera System to the Ariake Coliseum and the adjacent outdoor tennis "Show Court" within the Ariake Tennis Park premises. These systems enhance the clarity of the announcements and help amplify the ...

⁣ ⁣⁣ ⁣#repost @lusiolights⁣ ⁣__________________⁣ ⁣⁣ ⁣I want to...




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⁣#repost @lusiolights⁣
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⁣I want to set up an experience like this in Occidental Park in Seattle. What do you think @downtownseattle ?! ;)⁣
⁣#Repost @mappingprojection⁣
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⁣ARTCUBE // PROJECTION EXPERIENCE @cacumenfilms .⁣
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⁣#mapping #projectionmapping #videomapping #projection #projectionexperience #installation #artcube @millumin2 #mdcommunity
https://www.instagram.com/p/B94OFjNJGhb/?igshid=rqcjdmo7d8av

For the First Time Abroad Panasonic Provided Its Power Assist Suit to the Para Powerlifting International Competition Held in Manchester

Panasonic Corporation provided its Power Assist Suits to the para powerlifting international competition, "Manchester 2020 Para Powerlifting World Cup" held from February 20 to 23, 2020 at Manchester, United Kingdom to help lighten the load of spotter/loader personnel working to support the competi...

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.

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

Call of Duty: Warzone, un free-to-play avec jusqu’à 150 joueurs

Par Shadows

Activision lance aujourd’hui sur consoles et PC le titre Call of Duty : Warzone, un jeu free-to-play proposant deux modes :
– l’incontournable Battle Royale, avec une arène de plus en plus restreinte ;
– un mode pillage : les joueurs ressuscitent, peuvent collecter argent et bonus variés, réaliser des missions.

Pour l’heure, il sera possible de jouer par trios et avec 150 personnes en parallèle sur la carte.

Côté technique, il vous faudra 175Go d’espace libre, mais aussi une carte graphique puissante : une GTX 970 vous permettra de jouer en medium seulement d’après NVIDIA, qui conseille une RTX 2070 SUPER pour un taux de rafraîchissement élevé, voire une RTX 2080 SUPER pour jouer en 4K.

L’article Call of Duty: Warzone, un free-to-play avec jusqu’à 150 joueurs est apparu en premier sur 3DVF.

Light Move Festival

Par Hayley Cantor

Next edition expected September.

Light Move Festival is now in its 10th year in Łódź, Poland. It started back in 2010 with the idea of changing the way the city of Łódź is viewed, but painting its buildings with colourful light. Now it is a well-developed festival of light putting Poland on the map, which includes installations, projections, spatial light shows, 2D/3D mapping, and conferences.

All photos courtesy of LMF

Light.Move.Festival. combines sound, color, light and movement. In 9th edition in 2019 it developed into an international, anticipated event with a recognizable brand promoting Łódź as an innovative, multicultural, friendly and open city. Its ever-growing popularity contributes to the formation of a positive image of the city and gives reason to visit Łódź in late autumn, outside the tourist season. In 2019 alone, the festival gathered 850,000 guests, and all its previous editions – over 4 million!

On Instagram, #lightmovefestival, has an impressive rate of publication, where you can really see the success of the festival and its colourful installations and 3D mapping of buildings.

For more information:

Website | Facebook |Instagram

The post Light Move Festival appeared first on Audiovisualcity.

Magewell’s New Flexible 4K Decoder for NDI® And SRT To Be Launched at 2020 NAB Show

Par Andres Benetar

  Magewell will unveil its most powerful decoder hardware to date in booth # SU5724 at the 2020 NAB Show (April 19-22 in Las Vegas). Believed to be the industry’s first hardware decoder to support both Newtek’s NDI® technology for production-grade media transport and the Secure Reliable Transport (SRT) protocol – developed and open-sourced by ...

The post Magewell’s New Flexible 4K Decoder for NDI® And SRT To Be Launched at 2020 NAB Show appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

STRP Festival

Par Marco Savo

EINDHOVEN, April 2 – April 5 2020 – POSTPONED DUE TO COVID-19 – DATE TBC

STRP Festival 2020 consists of an international expo, an extensive STRP Scenario program with many speakers, an educational program and a varied music and performance program in the evenings, in collaboration with five new program partners: EMOVES, Muziekgebouw Eindhoven, PLASMA & JaJaJaNeeNeeNee.

DOMUSDELA, in the heart of Eindhoven, is the new main location for STRP festival 2020. This is where you will be able to visit the exhibition and join the STRP Scenarios. The music and performance program will take place in the evenings in various (to be announced) locations.

During STRP Festival 2020, imagine a future in which humans are no longer a dominating factor for life on Earth. We – humans – have a tendency to place ourselves in the center of the universe and to behave as superior to nature, plant, animal, and thing. But what if we were no longer at the top of the pyramid? How would we then realign with nature, technology, objects, and intelligent systems? And what does all this mean for our world here, now, today?

 

STRP Festival

DOMUSDELA

Eindhoven, The Netherlands

info@strp.nl

LINK BOX

STRP

Facebook / Twitter / Instagram / Vimeo

The post STRP Festival appeared first on Audiovisualcity.

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⁣Recent R&D tests with Array experimenting with reflections. Enjoying a foray into the use of singular colour. #visualart #minimalism #lightdesign #installationart #reflection #darrenjohnston #mrlupin #millumin . New Array work coming soon ! Array research with @mrlupin
https://www.instagram.com/p/B9YpJQnplb9/?igshid=df12dizyuxr6

Mediaproxy to focus on future of IP-based solutions and OTT monitoring with LogServer at NAB 2020

Par Page Melia PR

Melbourne, Australia: 3 March 2020 – Mediaproxy, the leading provider of software-based IP broadcast solutions, will highlight recent upgrades to its industry leading LogServer logging, monitoring, and analysis system on Booth SU8502 at NAB Show 2020, taking place in Las Vegas from April 18-22. With a growing change in direction by broadcasters away from SDI ...

The post Mediaproxy to focus on future of IP-based solutions and OTT monitoring with LogServer at NAB 2020 appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Callipeg : un outil d’animation 2D prometteur a besoin de vous

Par Shadows

L’équipe d’Enoben nous présente son projet en cours : Callipeg, un outil d’animation pensé pour l’iPad.

L’objectif est ambitieux : il s’agit ni plus ni moins que de proposer un produit convenant aux professionnels. L’équipe insiste aussi sur sa volonté de s’appuyer au maximum sur les capacités de l’iPad : Apple Pencil, gestes sont donc pleinement supportés.

En beta depuis plusieurs mois, l’application propose déjà une timeline avancée, des menus radiaux, le support du multi-touch, l’import/export de données ou encore un système de brosses. L’interface a manifestement fait l’objet d’un travail soigné ; les gauchers apprécieront au passage l’existence d’un mode dédié.

Le modèle économique retenu sera l’abonnement, avec un tarif assez léger (sous la barre des 5€/mois ou 50€/an).

D’ici le lancement effectif, une campagne kickstarter a été mise en place. L’idée est de financer le développement de certaines fonctions avant la mise à disposition publique de l’outil : une caméra 2D, un calque de transformations sont par exemple au menu.
Participer à la campagne ne vous donnera pas accès à l’outil, en revanche vous disposerez des fichiers d’animation utilisés dans les vidéos de présentation : de quoi partir sur de bonnes bases quand vous testerez l’outil par la suite.

L’article Callipeg : un outil d’animation 2D prometteur a besoin de vous est apparu en premier sur 3DVF.

20 kilos de cheddar pour un hommage à Wallace & Gromit en stop-motion

Par Shadows

Disposant d’un bloc de cheddar de près de 20 kilos issu d’un projet pour une marque de produits laitiers, Lawrence Becker a décidé de transformer tout ce fromage en animation plutôt que de le laisser partir à la poubelle.

Il a donc sculpté la tête de Wallace (du duo Wallace & Gromit des studios Aardman) en stop-motion. Un hommage au fumet délicat, donc, qui a évidemment nécessité de travailler rapidement.

Becker précise que le fromage n’a pas été gaspillé sur l’autel de l’art : il a été ensuite donné à des amis ou… Consommé directement par l’artiste. Un don à des associations était exclu en raison des règles de la Food and Drug Administration américaine.

L’article 20 kilos de cheddar pour un hommage à Wallace & Gromit en stop-motion est apparu en premier sur 3DVF.

Qligent Will Launch All-in-One Compliance Monitoring System at 2020 NAB Show

Par Andres Benetar

  Earlier this month, Qligent amplified its value proposition for broadcast compliance monitoring with a new all-in-one solution that addresses regulatory requirements for local TV stations, alongside its core quality-oriented proficiencies. This new solution will be unveiled at the 2020 NAB Show. Qligent’s Vision Compliance Monitoring system unlocks a centralized portal to monitor the three ...

The post Qligent Will Launch All-in-One Compliance Monitoring System at 2020 NAB Show appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Mutek [ES]

Par Marco Savo

Barcelona, March 4-7 2020

MUTEK Barcelona marks 11 clicks around the sun on March 4-7, 2020, with 4 days and nights of live electronic music, audiovisual performances, professional activities and more.

After a decade of explorations and discoveries, the festival is preparing for a new era as a platform for dissemination and innovation in digital creativity with activities that will be developed throughout the year.

Maintaining the global commitment of the MUTEK international network to promote and create synergies with projects focused on diversity, gender equality and empowerment in the creative industry, in 2020, MUTEK.ES puts special emphasis on fostering spaces for artistic and professional formation, through different seminars and artistic residencies that will have their point of exhibition within the frame of the festival in March.

Characterized by its exceptional presentation standards and a curatorial approach that draws equally from international and national talent, always aiming to deliver revelation and discovery to our audiences, MUTEK Barcelona continues to operate in a human-scale, community-minded context.

Mutek ES 

Barcelona, Spain

LINK BOX

Website

Facebook / Twitter / Instagram / Vimeo

The post Mutek [ES] appeared first on Audiovisualcity.

RE – TEXTURED Festival

Par Marco Savo

London, 2 – 4 April 2020

RE-TEXTURED is a multi-venue, multi-sensory festival for London and the UK.

The festival explores the relationship between experimental electronic music, modernist and industrial architecture and light and visual art, and is brought to you by the team behind Krankbrother.

Krankbrother Director Danny Clancy says: “RE-TEXTURED at Tobacco Dock is our most ambitious show to date. It’s one of the few buildings in London that allows us to fulfill our ambitions across light, sound and visual art, it’s unique structures, rooms and history have inspired us to push the edge a little more.”

RE – TEXTURED

London, Various locations

info@re-textured.com

Website

Facebook / Instagram

The post RE – TEXTURED Festival appeared first on Audiovisualcity.

Un pavé numérique avec trackball pour Mac… et inutilisable sur un Mac moderne

Par Pierre Dandumont

Dans ma longue liste des trucs en ADB, j’ai un périphérique qui semble intéressant : un pavé numérique avec un trackball intégré. Mais comme le trackball testé l’année dernière, c’est inutilisable sur un Mac moderne.

Commençons par le trackball, donc. Il est physiquement identique au modèle dont je parle plus haut, avec une bille bleue et deux boutons. Et surtout, il a le même problème : le bouton de droite est le classique « clic gauche forcé » (une pression active le clic gauche et le garde enfoncé) et le clic gauche… envoie deux clics. Avec mon adaptateur ADB vers USB, il détecte un clic gauche et un clic droit enfoncé. Pas très pratique, et même inutilisable sur un Mac moderne (et sûrement sur une station NeXT). Ça ne devait pas poser de soucis à l’époque parce que Mac OS ne gérait pas le clic droit avant la version 10.

Le pavé numérique, lui, est mécanique. Il propose les touches classiques (chiffres, Enter, +, -, etc.) avec en plus une touche tabulation. Une touche shift en bas du pavé fait office de touche Fn : elle active une second fonction. Ne vous fiez pas aux inscriptions undo, cut ou paste, le pavé envoie juste des commandes F1, F2, etc.

On voit bien les touches pressées

Sur un Mac portable des années 90, ça pouvait être pas mal : certains préféraient le trackball au trackpad, le pavé numérique simplifiait évidemment la frappe des chiffres, et la prise ADB dispose d’un connecteur femelle pour chaîner l’accessoire avec un autre périphérique. C’est une solution courante, que certains préfèrent à un câble amovible et des prises sur le périphérique lui-même.

La double prise

C’est dommage que la partie trackball ne soit pas utilisable sur les appareils modernes, malheureusement.

The Tall Order of Developing a "100-Year Community": Where Panasonic's First Smart Town Is at 5 Years into That

Fujisawa Sustainable Smart Town (FSST) in Fujisawa City, Kanagawa Prefecture, Japan has turned a lot of heads since it opened in November 2014 as one of the few smart cities in the world. Now that it is 5 years old, how has FSST grown over the years? To answer that properly, it was best to visit t...

SATIS Screen4All : les conférences 2019 en vidéo, cap sur 2020

Par Shadows

L’organisation du SATIS/SCreen4All a mis en ligne les enregistrements vidéo des principales conférences de la dernière édition, qui avait lieu fin 2019. En voici une sélection, accompagnées de photos prises durant l’évènement.

Produire pour les plateformes SVOD

Avec notamment Célia Digard de Unit Image ; nous vous avions proposé un résumé de son intervention, qui porte sur Love, Death & Robots.
Modératrice : Lucie WALKER
Intervenantes : Célia Digard – Unit Image, Myriam LOSEGO-LAMNDÉ – DIOT, Sarah GUREVICK – La Maison des Scénaristes

Master Class Ayahuasca, KosmiK Journey

Primé et sélectionné dans les plus grand festivals, Ayahuasca, KosmiK Journey de Jan kounen est un voyage en VR hallucinant à travers l’une des pratiques spirituelles les plus étranges de la planète. C’est aussi une aventure technologique et artistique étonnante, aux limites du possible. Rodolphe Chabrier président de MacGuff et superviseur du projet, a divulgué les dessous de l’experience technico/chamanique fabriqué en 6 dof dans le studio SMALL, un label de MacGuff. Une coproduction Atlas V / A_bahn / Small.

Studio Virtuel de Réalité Augmentée au service du Live

La technologie est aujourd’hui adoptée par toutes les grandes chaînes de télévision qui enrichissent leurs productions avec des graphiques, de l’interactivité et des données. De nombreuses émissions que ce soit de sport ou de divertissement utilisent de la réalité virtuelle, de la réalité augmentée pour augmenter l’impact de leurs contenus. Quelles sont les avantages, les inconvénients de ces technologies et quelles sont les solutions disponibles sur le marché ?
Modératrice : Marine CORBELIN
Intervenants : Emmanuelle ROGER – Immersiv.io, Philippe BORNSTEIN – Netineo, Laurent LOISEAU – Intuit’art, David MOSCA – ROSS Video, Patrick JEANT – Yewth Studios

L’animation à la francaise a le vent en poupe

Le savoir-faire français dans l’animation s’exporte. Quelles sont les tendances ? Les opportunités ? Les risques ? Nous avons invité des Français expatriés à l’étranger, ainsi que des sociétés d’animation en France qui produisent pour des clients étrangers. Les échanges étaient… animés !
Modérateur : François ABBE
Intervenants : Rémi BRUN – Mocaplab, Frantz DELBECQUE – Blue Spirit Production, Lionel FAGES – Cube Creative Computer Company

Intelligence artificielle et deep fake pour les news

Comment l’intelligence artificielle et les logiciels de Deep Fake peuvent-ils être utilisés de manière positive et constructive pour la fabrication de news et de contenus ? Comment la génération automatique de contenus peut elle être améliorer par ces technologies ? Est ce que des créateurs vont s’en emparer ? Quels sont les modèles économiques ?
Modérateur : Jean Yves LE MOINE
Intervenants : Arnaud CHEYSSIAL – Flint, Nicolas RIBEYRE – Laval Virtual

Quelle distribution pour les formats immersifs ? Suivi du Pitch session des Lauréats du Labo

Les contenus immersifs ne sont pas consultés pour l’immédiat au sein des foyers, pour accélérer ce développement il est nécessaire que plusieurs facteurs convergent ( masque VR de qualité et bon marché, plateforme centralisée, offre plus large de contenus). D’ici là les contenus immersifs trouvent des débouchés dans des lieux d’expériences comme les LBE, les musées. Cette conférence a dressé un état de lieux de ce marché et proposé un ensemble de réponses à ces différentes problématiques. Suivi du Pitch des Lauréats du Labo : Les 8 lauréats du Labo 2019, l’incubateur nouveaux médias & expériences numériques du Pôle Media Grand Paris, ont présenté leurs projets interactifs, immersifs, VR/AR, …
Le Labo accompagne la maturation de ces projets innovants grâce à un coaching par des experts de renom et un cycle de formation monté en partenariat avec l’INA et le CIFAP.
Modérateur : Alexandre REGEFFE
Intervenants : Camille LOPATO – Diversion Cinema, Alexandre ROUX – Lucid Realitites, Yohan BOUCHÉ – ONIRIX, Agnès ALFANDARI – Institut Français

Vers la réalisation automatique

La réalisation automatique – ou du moins assistée – commence à devenir une réalité technique pour le live. L’intelligence artificielle, des algorithmes de reconnaissance de formes représentent quelques uns des composants à la clé de la réussite de cette nouvelle génération de captation. Il ne s’agit pas de remplacer le savoir-faire et les compétences humaines, mais d’une certaine manière de les assister. Quels sont les usages, quelles sont les limites ? Et quel est le calendrier possible pour une exploitation commerciale ?
Modérateur : Stephan FAUDEUX
Intervenants : Alexis PACCOU – Nikon, Julien DULAURENT – Panasonic, Arnaud ANCHERLEGUE – Multicam Systems, Pierre-Laurent JASTRZEMBSKI – 3D Storm

(à consulter directement sur Vimeo : https://vimeo.com/showcase/6622772/video/376864734 )

Les enjeux de la 8K

Pour certains la 8K est une vision futuriste, pour d’autres la 8K verra le jour dans un avenir proche !
Il y a du vrai dans les deux points de vue… Tout dépend de la manière envisagée pour produire et diffuser des contenus UHD 8K. De la prise de vue, à la 5G en passant par les écrans, le point sur les différents cas de figure et un état des lieux de la production de contenus.
Modérateur : Stephan FAUDEUX
Intervenants : Gary GUILLIER MARCELLIN – Samsung, Bernard FONTAINE – France TV, Olivier CHIABODO – The Explorers, Mathieu BEJOT, Lazlo CHATELARD – Loedens Studio

Outre ces vidéos, nous vous invitons également à découvrir le podcast du SATIS-Screen4All, mis à jour régulièrement et avec là encore des thématiques variées : création d’une application RA, éclairage d’une scène, amélioration des réunions, nouvelles techniques du direct, préparation de tournage, virtualisation…

Le SATIS 2020 en préparation

L’équipe organisatrice du SATIS s’est d’ores et déjà lancée dans la mise en place de la prochaine édition. Le comité de programme et l’équipe de Génération Numérique se sont rassemblés en début de mois afin, notamment, de définir les thématiques à explorer.

3DVF ne manquera évidemment pas de vous tenir informés du programme de cette future édition 2020 en temps voulu.

L’article SATIS Screen4All : les conférences 2019 en vidéo, cap sur 2020 est apparu en premier sur 3DVF.

Black Dragon Spotted in Grass Valley :)

Par Ryan Salazar

By now, everyone has heard the big news of Black Dragon Capital’s announced acquisition of leading broadcast and post-production hardware & software manufacturer Grass Valley. Belden Inc., a leading global supplier of specialty networking solutions, engaged in the signing of a definitive agreement to sell the Company’s Live Media business (“Grass Valley”) to Black Dragon ...

The post Black Dragon Spotted in Grass Valley :) appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Marshall Electronics New IP Cameras are the Main Focus at ISE 2020

Par D Pagan Communications

Three New 30X Optical Zoom Cameras Offer 4K, UHD and HD Resolutions  AMSTERDAM, FEBRUARY 4, 2020 – Marshall Electronics, a leading provider of professional cameras, monitors and accessories for professional AV and broadcast production, will showcase three new IP cameras, the CV630-IP PTZ Camera, the CV420-30X-IP Camera and the CV355-30X-IP Camera, at ISE 2020 (Stand ...

The post Marshall Electronics New IP Cameras are the Main Focus at ISE 2020 appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Eufònic Urbà – Festival of Sound, Visual & Digital Performing Arts

Par Hayley Cantor




Eufònic is a sound, visual and digital-performing arts festival held in Sant Carles de la Ràpita about an hour South of Barcelona. As an extension of this annual festival, Eufònic Urbà, provides a city-based version of the festival, which sees exhibitions and installations at the Arts Santa Mònica, right in the very heart of Barcelona. Eufònic experiences can be found in, and not limited to; museum spaces, sound actions, activities for the family audience, and concerts in unique spaces.

This year, we will have the pleasure to explore the urban festival for an entire month – leaving us with no excuse for not absorbing some audiovisual culture this winter. From February 1 to 29, 2020, we can expect to enjoy artistic presentations, audiovisual performances and experimental proposals some of which have already been presented at the summer version of the festival on the mediterranean coast, as well as some new exclusive features, as well as presentation of the creative residences.

The festival is organised in two different phases.
The most punctual of the two being 7th–8th February with more one-off performances and timed events, such as AV performances and project presentations, with artists such as NSDOS, Sam Aaron, Balfa, Clara Brea, dvdv, William Luke Valerio, Jordi Salvadó and Tim Cowlishaw & Jakub Fiala.

“where the human presence is diluted in the responsibility of being cause or effect”

The longer duration part of the festival offerings involves Tonalitats afectives (Affective Tones in Catalan), an exhibition on the 2nd floor of Arts Santa Mònica, on Las Ramblas. It can be visited for a month (until February 29) and entrance is completely free. It focuses on the visions of six artists linked to the liquid gesture, the indeterminate process and involuntary creative will as tools of work and processes of reflection. Amongst the huge variety of installations, you will be able to find everything from changes in subject matter, algorithmic creations, and neobiological worlds, creating a discourse about a variety of scientific observations, such as memory of space and context, and objectivity and physicality.

Work includes projects by artists such as Navid Navab and Michael Montanaro, Kathy Hinde, Óscar de la Fuente, Sofia Crespo, Marc Vilanova and Raquel Meyers).

The post Eufònic Urbà – Festival of Sound, Visual & Digital Performing Arts appeared first on Audiovisualcity.

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