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NDI Virtual Input and FFMPEG/FFplay issues

Par : DWAM
Hi !

I'd like to use Newtek NDI Virtual Input to feed FFMPEG for live encoding to other protocols but I cannot get it to run smoothly and it results in choppy or slomo video, rtbufsize errors, framedrops and cracking audio.

Here's my context :
- Windows 10 64 Bits
- FFMPEG from Zeranoe (latest stable build 4.3.1)
- NDI feeds come from vMix or OBS or NDI Connect and they all play fine everywhere except with FFMPEG (I have fine results with NDI Tools, other vMix/OBS/VLC or Zoom/Skype/WebRTC, etc... they're all working perfectly)

Here's my commandline for FFplay

> ffplay -f dshow -rtbufsize 512M -i video="NewTek NDI Video":audio="Ligne (NewTek NDI Audio)"

> the console returns "real-time buffer [NewTek NDI Video] [video input] too full or near too full (62% of size: 512000000 [rtbufsize parameter])! frame dropped!" and the playback is not good at all

I have also tried with option "-fflags nobuffer" or with a larger (insane?) values for buffer size (-rtbufsize 1024M/2048M). Also tried to specify more options (which help sometimes) like "-vcodec rawvideo" or "-video_size 1920x1080 -framerate 25" but nothing works... Even the FFPROBE utility which only analyses the input reports rtbufsize errors!

Obviously it does the same with FFMPEG so any further conversion (to SRT in my use case) is terribly bad too.

I have a lot of scripts dealing with DSHOW devices in FFMPEG, it's not always easy, but this time, I feel completely stuck. Am I missing something? Did someone managed to get NDI Virtual Input work when used as a DSHOW device in FFMPEG?

Any help appreciated! Thanks
Guillaume, aka DWAM

Scan converter freezes after 7th PC running it

Par : avmw
Hi - We are trying to do an 8 computer setup using NDI and going into vmix or wirecast. We are good to go on 7 connections but once we turn on scan converter on the 8th pc, that one freezes. We have tried it on various PC and have found it happens on the 8th PC no matter what order we connect the PCs.

is there a standard setting we are missing? Do we need a 10g switch? We have a gig switch in line now.

Any suggestions? Is there a limit to how many computers are using the scan converter option?

Interview to Paco Gramaje

This is our interview to Paco Gramaje, art director of the Paco Gramaje Studio in Barcelona.

The studio creates immersive multidisciplinary AV shows, especially focusing on the fusion between projection mapping and dance performance.

We asked Paco a few questions about his background and creative career and also about the new projects he has been cooking up during the quarantine period.

1. When did you start working on the interaction between audiovisual and dance performance, and how did you get involved? What are the aspects that are more appealing to you about working in this interdisciplinary field?

It all begun in 2009. After quitting my job as an engineer I moved to Madrid to study a Master in Motion Graphics while making my first experiences in the world of video art. 

In 2010 I started up several collaborations with art organizations in Madrid and they proposed to me to shoot a dance performance by the choreographer Iratche Ansa.

The performance was going to be held at the Matadero in Madrid. From that recording I put together my first video dance “Comunicación Interpretación Automática” which had a very good reception.

I had discovered the potential of dance from an audiovisual perspective and the inner revelation of what I wanted to do in the next few years.

A few months later I made my first dance pieces with live visuals with choreographer Barbara Fritsche.

Thanks to those projects I was able to work on the musical “Hoy No Me Puedo Levantar” in 2013. In 2014 I directed my first proper theatre show: “Girasomnis”.

Interview to Paco Gramaje
2. You are the creator of “Girasomnis”, an itinerant project that has been traveling around the world. Can you tell us about the creative process behind the inception of this innovative project?

I try to “connect” the visuals with the dancers. Sometimes I encourage the dancers to “connect” or follow my visuals.

In this project I also composed the music. This is very useful as I have better control of the creative process. With this project I tried to evoke feelings in the audience without words: just images, dance and instrumental music.

Paco Gramaje - Audiovisual artist
3. Paco Gramaje Studio recently launched the “Dance Mapping Virtual Tour 2020” which it’s fundraising on Gumroad. This is in preparation for a new cutting-edge AV dance project in 2021 involving a 360 immersive environment . Can you give us some insights about the whole project?

This quarantine caused an abrupt stop in my job, but also gave me time to start imagining something new.

The idea was born during the first week of confinement. At the start, It was simple: I just wanted to publish some of our best projects and make them public. But I also felt a need for a change.

The last 3 years I was quite disconnected from my artistic side due to working mostly on commercial projects. 

I was just focusing on making money to pay my bills and trying to have a stable team for audiovisual production. The outbreak of the Covid-19  has been an absolute shift in our work. We started questioning the possibility of doing our shows as we did before.

Therefore I needed to devise another type of format for the new normal awaiting us: a fully immersive virtual Dance Mapping Show.

As my previous theatre production, without the pressure of a client and using the Girasomnis music.

So, in April I started to visualize and write a synopsis of this new project. I then decided to publish “Dance Mapping Virtual Tour 2020” as a memorandum of all these years of physical shows. 

Now it’s time to go further. I want to gather all the knowledge I gained during the last 10 years and apply it to a virtual reality show, where I can break the limits and make an immersive 360º visual performance with dancers.

This new production is planned to be released in VR and physical 360 projection format in late 2021.

4. When working on a project how do you pick your collaborators? What are the main roles you look for in your team? 

When I have the budget I can work with some powerful audiovisual freelancers from my network of collaborators. Failing that I work alone.

I also work with very talented dancers/choreographers from Barcelona. During the years they started to understand my ideas and transform them in beautiful choreographies. 

5. Can you describe your general creative approach when starting on a new project?

I have mostly 2 ways of work. I compose a music draft and then I work on the visuals and choreography or vice versa: I make a draft of visual content with a draft choreography and I try to match the sounds and music.

Sometimes I give leeway to the dancer, so they can create their own choreography and then I create the visual content following their movements.

In the last few years I also worked with some talented musicians for a faster audiovisual production.

6. In 2015, Paco Gramaje Studio won an award at the International Mapping Festival in Girona for the Micro-mapping category. Could you share with us your thoughts about the concept of “Micro-mapping”? 

This was a concept from Roman Torre. In 2015 I shared a space with him and we collaborated together on a video mapping of a rotating stone. It was a nice project called Liquid Series.

In the video mapping area I also tried to develop innovative concepts, differing from the typical big projection on a building facade. 2 Years ago I started to develop the concept of “Holomapping”. I am planning to finish it next year as well.

7. We are aware you regularly teach courses and masterclasses of video mapping applied to performing arts, in Spain and Latin America.


What specific training would you recommend for digital artists who have just started their career and why? Which are the countries with more opportunities for audiovisual arts, in your opinion?

Nowadays, it is possible to learn a lot following digital online courses, but it is always better if somebody guides you. As with everything in life the best way to learn is practice, making mistakes and improving. 

Spain is not the best country for arts, I would say. As far as I know French artists or from other European countries have more grants and support from their governments, but everything is possible if you are passionate about your work.

Website

Facebook | Twitter | Instagram | Vimeo | YouTube

The post Interview to Paco Gramaje appeared first on Audiovisualcity.

Unable to run VLC SyncPlay

New computer AMD Ryzen 3970. I have been unable to get VLC SyncPlayer to install. The rest of the apps load fine. Anyone else have this problem?

NDI Source showing in Studio Monitor but not in TC1

Hi All,

I am working on programming our TC1 out for our first production next week. We are running NewBlue Titler Live for GFX and OBS with NDI for one webbased graphic off of a rack mounted PC. The Rack PC as well as our TC1 are both plugged into a Ruckus 7150 24 port switch.

We are running three NDI outputs from New Blue, and two from OBS from the same rack mounted machine. Both the OBS and NewBlue NDI channels can be seen in Studio Monitor. OBS can be seen in the Tricaster, but the NewBlue channels cannot. The NewBlue channels populate as a source on the input drop down list, but they do not actually pull any content in over NDI. The tally from the TC1 to Titler Live also works so it is both sending and receiving information.

Any ideas?

⁣ ⁣⁣ ⁣#repost @geraldinekwikmusic⁣ ⁣__________________⁣ ⁣⁣ ⁣I’m...




⁣⁣
⁣#repost @geraldinekwikmusic⁣
⁣__________________⁣
⁣⁣
⁣I’m so proud of being part of this new mapping with my original music written for the casino Viage in Bruxelles played by night during full december. ( Boulevard Anspach 1000 Bruxelles )⁣
⁣.⁣
⁣.⁣
⁣Visual Artist : Simon Lebon ⁣
⁣Music and sound design : Geraldine Kwik ⁣
⁣Place : Grand Casino Brussels Viage⁣
⁣https://www.viage.be/fr/ ⁣
⁣.⁣
⁣.⁣
⁣.⁣
⁣#bruxelles ##brussels #casino #viage #casinonight #videomapping #loomprod  #originalsountrack #musicforpaintings  #mapping #composer #frenchcomposer #musicscore #ambient #composingmusic #sound #sounddesign #art #visual #millumin #madmapper #motiondesign #aftereffects #design #architecturalmapping #projectionmapping #movingimage #digitalartist #night (at Brussels, Belgium)
https://www.instagram.com/p/CDhG-Wipj7z/?igshid=uqppjxxumkcx

⁣ ⁣⁣ ⁣#repost @vag1323⁣ ⁣__________________⁣ ⁣⁣ ⁣VAG ju...




⁣⁣
⁣#repost @vag1323⁣
⁣__________________⁣
⁣⁣
⁣VAG ju mirëpret edhe sot e në vazhdim te Sheshi “Skënderbej” ora 21:00 në datat 5-6-7 Gusht 👩‍🎨 @dardanstudio @raelvashabanaj @gentprizreni @gimpocari @bashkiatirane @julia.dhame @eurokontakt⁣
⁣⁣
⁣#artwork #event #tirana #visual #art #gallery #dardanstudio #vag (at Sheshi SKENDERBEJ)
https://www.instagram.com/p/CDgyudSpoAo/?igshid=1ix2aru566tsb

bb15 Open Call: Art + Magic

Par : Marco Savo

DEADLINE: 5 September 2020

bb15 launches the open call: Art + Magic for all audiovisual artist.

The contemporary art venue in Linz opens up its doors to an artist residency resulting in an exhibition or live event.

The open call aims at exploring the primordial relationship between art making and the concept of magic, especially related to the use of new technologies to inspire mystery and wonder.

bb15 Open Call

Artistic gestures and processes can be seen as magical rituals, from which the myth of the artist has emerged over time. The aura of the artwork is used to cast a spell on its viewer!

In the art scene in particular, mysticism around art-making is kept alive by common rituals such as exhibitions, vernissages, and performative events, which propose collective shared experiences of something bigger. 

For this open call, bb15 is seeking original project proposals that trigger mental associations and subliminal experiences at the junction of art, ritual and magic.

The residency program focuses on and explores the interplay between contemporary visual art and auditory practices, in relation to the theme of art+magic. The call doesn’t exclude any artistic media.

bb15 - Open call for audiovisual artists
Teresa Cos: Tunnel Boring Machine

During the residency at bb15, the selected artists will be expected to push forward and bring further their proposal into a work that will be presented to the public at the end of the residency.

It is highly desirable that the invited artists create specific and new works during their stay.

Conditions:

– Duration: 2-3 weeks

– Possible periods: Spring 2021 or Autumn 2021

– There is a € 1200 all-in budget per artist in residence. This amount should cover all costs such as travel, equipment, production costs, daily expenses, and artist fees. Artists will be provided with free accommodation and workplace at the premises of bb15.

– The residency entails the realization of an exhibition or performative event at bb15.

– bb15 will provide technical and curatorial support as well as the promotion of the exhibition.

CONTACT

WEBSITE

APPLY

The post bb15 Open Call: Art + Magic appeared first on Audiovisualcity.

Crystal Vision makes creating picture-in-picture effects easier with M-PIP

Crystal Vision has released the industry’s first dedicated picture-in-picture device. Designed for IP or SDI playout applications that need one or two picture-in-picture boxes to be inset on the main program, the M-PIP allows two input flows to be sized and positioned in advance and then layered over either the third input flow or an ...

The post Crystal Vision makes creating picture-in-picture effects easier with M-PIP appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Cinegy Multiviewer 15.2: Hail to the King

Munich, Germany, 05 August 2020: Cinegy GmbH, the premier provider of software technology for digital video processing, asset management, video compression and automation, and playout, has released the latest version of Cinegy Multiviewer 15.2, solidifying Cinegy’s position as the leading IP and multipurpose multiviewer vendor. Cinegy Multiviewer 15.2 is the most flexible multiviewer ever, great for ...

The post Cinegy Multiviewer 15.2: Hail to the King appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Cosmic Lab

Par : Marco Savo

Cosmic Lab is a multimedia studio formed by audiovisual artists and creators based in Osaka, Japan.

They combine art and technology to develop powerfully immersive audiovisual experiences.

We discovered this amazing collective thanks to ADAF 2020 and we fell in love straight away.

Cosmic Lab possibly represent the archetype of the audiovisual artist, rooted in the art world and the underground clubbing scene.

As many Japanese new media artists they are not afraid of experimenting and mixing up techniques and styles. As far is it’s punchy, alluring and visually stunning they will use it in their performances.

From immersive VJ sets to operatic projection mapping, from AV live graffiti to cutting-edge interactive installations. Cosmic Lab always achieves to captivate the audience and mind-blow even the more AV experts.

Here our top picks from their impressive portfolio of audiovisual projects:

Live Paint Showcase: “Magnetic”

Cosmic Lab - Audiovisual artists

As we said: no fear of experimenting. Here we see a very interesting fusion between hip hop and audiovisual culture.

At the opening event of MAGNET by SHIBUYA 109 “ShibuGekiSai”, Cosmic Lab and Doppel collaborated on a performance combining live painting and video projection.

The 3D video cubes are animated in motion graphics by the audiovisual artists guiding the graffiti artists on the patterns they will fill with their spray cans.

The DJ spins tunes throughout the performance linking graffiti and projection through the overall hip hop groove.

Buddhist Chant and Light Performance

An audiovisual feast and a once-in-a-lifetime experience to celebrate the Koyasan’s 1200th anniversary (The center of Shingon Buddhism).

We see something truly remarkable and unique: a fusion among the vibrating tones of the Buddhist chant, Japanese drums and an elaborate projection mapping.

Under the musical inputs and the AV latest technologies the great Pagoda comes alive. The result is spectacular, mesmerizing and sumptuous to honor the ancient tradition of Japanese Buddhism.

QUASAR

Here Cosmic Lab went a few steps ahead by reinventing the way of making AV live performances through a new tool called QUASAR.

It loosely reminded us of the Reactable Machine, developed in Barcelona in 2003 to make music through physical interaction.

In this next-generation AV instrument, each musical measure is not interpreted in a linear fashion, but as an endless loop.

Also the tangible interface gives a physical structure to the AV content making possible to build rhythm and layers in all new intuitive physical way. Impressive!

Cosmic Lab - Audiovisual artists

Contact

Website

Facebook | Twitter | Instagram | Vimeo | YouTube

The post Cosmic Lab appeared first on Audiovisualcity.

Rename NDI Tools downloadables

Par : simond83
Please can you rename the downloads, so they're more clear as to what they are. I see there's a recent point update. I've now downloaded "NDI 4 Tools.exe". It would be better to have NDI_Tools_4.5.1_windows.exe.

Thanks :)

- - - Updated - - -

Also, can you add a 'download only' link so that we don't have to fill out the form all the time....thanks!

Bug in NDI for Adobe Creative Cloud prevents video playback in Premiere

Par : PaulSiegel
Hello -

I recently installed the NDI for Adobe Creative Cloud plugin on my OSX machine. The ability to import MOV files recorded by the NDI Monitor tool with timecode data felt extremely promising. However, I discovered the plugin also created a terrible bug in Adobe Premiere. Once installed, the ability to play back video in Premiere consistently breaks.

Pressing the play button in either the source monitor or the program monitor cause the audio to play back correctly, but the video shows nothing and the playhead on the timeline does not advance. I'm able to scrub the playhead on the timeline and see frames of video by moving it around, but it remains stuck at that position when pressing play. The problem occurs in all Premiere projects, regardless of whether they include an imported MOV file from NDI Monitor or not.

I attempted many fixes to this - clearing my cache, deleting Premiere preferences, rebooting -- none of this solved the problem. I then confirmed this was due to the plugin by simply removing this file from my system:

/Library/Application Support/Adobe/Common/Plug-ins/7.0/MediaCore/NDI_Transmit_AdobeCC.bundle

Removing this file immediately resolved the problem. Putting it back caused the problem to reoccur. I'd love to have the timecode data in my Premiere projects, but the bug that comes along with it makes Premiere unusable, which is a terrible shame.

Anyway, I just wanted to report the bug. I hope you're able to fix it. If you need any additional information I'd be happy to provide it. Here's some basic info about my system:

MacBook Pro (15-inch, 2016)
OSX: 10.15.6
Processor: 2.9 GHz Quad-Core Intel Core i7
Memory: 16 GB 2133 MHz LPDDR3
Graphics: Radeon Pro 460 4 GB, Intel HD Graphics 530 1536 MB
Adobe Premiere Pro: Version 14.3.1 (Build 45)

Paul

Frame rate issues in unreal engine SDK

Par : djevo2
I have noticed that with unreal 4.25 and the compatible NDI sdk I am getting significant frame drops on both inputs and outputs. No matter what framerates I lock NDI and the project to it seems like I am dropping every other frame on the NDI output and inputs. If i compare the main NDI output and the preview in the editor the motion in the editor is smooth wheras the NDI output exhibits this problem. Furthermore, if I create a standalone build of my project the preview as well as the NDI output suffers from this problem. I have attempted running at 1080o and 720p with the exact same result. If I run the same standalone version with no ndi input it runs perfectly fine in the preview window. I am running a 2070 super with an i7 and 16gb ram. This is seemingly isolated to the ndi sdk for 4.25.

ATEME AND ANEVIA ENTER INTO EXCLUSIVE NEGOTIATIONS FOR THE ACQUISITION BY ATEME OF 87% OF THE SHARE CAPITAL AND 90% OF THE VOTING RIGHTS OF ANEVIA

Par : Editor

ATEME (ISIN: FR0011992700) and the main shareholders of ANEVIA (ISIN: FR0011910652) (the “Company“) together holding 87% of the share capital[1] and 90% of the theoretical voting rights[2] of the Company (the “Majority Shareholders“), have entered into exclusive negotiations to transfer their interest in the share capital of the Company to the benefit of ATEME. The transaction has received the prior unanimous support ...

The post ATEME AND ANEVIA ENTER INTO EXCLUSIVE NEGOTIATIONS FOR THE ACQUISITION BY ATEME OF 87% OF THE SHARE CAPITAL AND 90% OF THE VOTING RIGHTS OF ANEVIA appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Bluefish444 adds KRONOS K8 support for Foundry Nuke and Nuke Studio 12 with Windows 2020.14.0 Install Package

Quality 2K/HD/SD-SDI output from Foundry Nuke products with Bluefish KRONOS and Epoch hardware  North Melbourne, Australia, 30 July 2020 – Bluefish444, manufacturer of the professional video industry’s highest-quality uncompressed 4K SDI, ASI, Video Over IP & HDMI I/O cards and mini converters, announces support for Foundry Nuke and Nuke Studio 12 in its latest 2020.14 ...

The post Bluefish444 adds KRONOS K8 support for Foundry Nuke and Nuke Studio 12 with Windows 2020.14.0 Install Package appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Discovery Server (Ubuntu) PULL from source?

Hey folks!

Is it possible to PULL from a source in Discovery Server?

Scenario:
vMix running on Windows (192.168.1.101), with Access Manager configured to use Discovery Server (192.168.1.100)
vMix running on Windows (192.168.1.102), with Access Manager configured to use Discovery Server (192.168.1.100)

With the current scenario, both Windows machines can see all NDI outputs from vMix from both machines - this is working as expected.

New Scenario:
FFMPEG encoder running on Linux (192.168.1.103), with no Access Manager (coming soon, it seems) and no option to use a Discovery Server

With the new scenario, is it possible to have the Discover Server (192.168.1.100) PULL from an NDI source (192.168.1.103) so that the two Windows machines can see the NDI sources from the one Linux machine via the Discovery Server?

I stumbled upon the config file:
Code:

{
    "ndi": {
        "groups": {
            "recv": "\"public\"",
            "send": "\"public\""
        },
        "multicast": {
            "recv": {
                "enable": false,
                "subnets": ""
            },
            "send": {
                "enable": false,
                "netmask": "255.255.255.0",
                "netprefix": "239.192.136.100"
            }
        },
        "networks": {
            "discovery": "127.0.0.1",
            "ips": ""
        },
        "tcp": {
            "recv": {
                "enable": false
            },
            "send": {
                "enable": false
            }
        },
        "unicast": {
            "recv": {
                "enable": false
            },
            "send": {
                "enable": false
            }
        }
    }
}

I'm curious if that config can be modified to allow what I'm looking for?

NDI video color band

Par : slcf2003
I'm using Scan Converter on one computer as NDI source, and Studio Monitor to check the video quality. I happened to run a monitor gray scale test on the source computer, which basically is a grayscale gradient image. (http://www.lagom.nl/lcd-test/gradient.php). It looks smooth on the source computer, but in the Studio Monitor, I can see some color bands in the image. Is it normal? Is this something to do with the color depth?

I attached a screenshot. Hopefully it is visible here.

Click image for larger version. 

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Recording NDI with Alpha Channel

Par : DanBrennan
Hi,

I was wondering if anyone has had any success recording an NDI feed with an alpha channel to be either taken into an NLE or for playback at a later time? I've tried the NDI Studio Monitor recording feature but doesn't seem to record with the alpha channel. Ideally, I would like to record some graphics with an Alpha Channel from an NDI source to be brought into premiere pro.

Any help would be greatly appreciated.

Thanks

Dan.

KVM Scan Converter Mac

Par : streamteam
Is the KVM feature recently added to Scan Converter (basically Remote Desktop) available on Mac? I can see it on my Windows machine but not my Mac. Need to control PC from Mac.

Have a windows machine running vMix in back of church near where camera feeds come to it. Looking to use NDI and KVM as a low latency way to move the vMix operator to another room in the building so that they can mix the stream audio (X32 console Ethernet control) from an isolated location. But KVM doesn’t seem to be in the Mac toolset which is my second machine.

Scan Converter Mouse Capture

Par : drjliver
Hello everybody,

I have recently installed NDI Scan converter on my home network to do a dual-pc streaming setup for gaming on Twitch. I have everything working properly, but the only thing stopping me from using this setup is that the mouse is not captured properly which makes it very distracting. I have looked into this issue and see that the most recent version of NDI Scan Converter includes a "Capture Mouse Pointer" option, but it artificially turns on the "display pointer trails" setting in Windows. NDI's mouse-capture setting makes it feel slightly sluggish and have a very short trail, and if you tick the Windows pointer-trail setting on and back off again, the mouse cursor is no longer seen through the stream, even though NDI's mouse-capture setting is still enabled. For FPS type games where you dont see the cursor it isn't a problem, but I primarily play Dota 2 and StarCraft where the mouse cursor is essential for the viewers of the stream to see.

I have searched recent forum posts and read the manual and I can't seem to find any way to have NDI scan converter stream my mouse cursor and not having it be a distracting trail behind it which makes it very hard to play RTS type games. If anyone has any advice or workarounds please let me know.

My current setup is basically NDI scan converter from my gaming pc -> network -> streaming pc which broadcasts it to Twitch.

NDI Scan Converter for Mac and Zoom

Par : BHenry
New member and long time video engineer here. As you can imagine, I am trying to integrate Zoom calls into an NDI workflow to allow for more polished production for virtual meetings. I am unable to get Scan Converter for Mac to see any Zoom app window other than the main login screen when selecting among the various apps.

In addition, Is there any way to add the ROI feature found on the windows version? I am running multiple monitors on my machines, and don't need to see the entire desktop.

TIA

Alfawise C50 : une mini graveuse laser simple à utiliser

La Alfawise C50 est un appareil prêt à l’emploi. Une solution de gravure pensée pour occuper,un minimum d’espace et être rangée facilement. Elle est parfaite pour des usages ponctuels comme le marquage d’objets, la signature de créations ou autre tâches répétitives du genre.

C’est un objet que l’on va laisser dans un placard avant de le déballer et de l’assembler en quelques secondes. On le pose sur un support, et après quelques réglages, on peut commencer à graver en série. Un meuble par exemple, un objet, des papiers, des ordinateurs avec un logo ou un numéro de série… La Alfawise C50 se manipule avec un simple smartphone ou depuis un PC via Bluetooth. 

Alfawise C50

Le laser embarqué est un 1600 mW signé OSRAM avec une durée de vie de 10000 heures, il peut graver une surface de 9.9 x 8.8 cm avec une résolution de 508 points par pouce. Ce n’est pas énorme mais suffisant pour de nombreux usages et, en particulier, cette idée de marquage ou de signature. Pour de plus grands formats, il sera possible de se tourner vers une solution plus classique mais plus encombrante comme les Alfawise C40 par exemple.

Alfawise C50

La machine est pensée pour pouvoir graver de multiples matériaux : du papier jusqu’au bois en passant par le cuir, certains plastiques et tissus. La marque indique une possibilité de mordre jusqu’à 2 mm d’épaisseur dans la matière avec un seul passage, cela dépendra évidemment du matériau et de la vitesse de vos passes. Il est bien plus simple de graver du sapin que du chêne et suivant la vitesse du laser, ou le nombre de passages, il est possible d’attaquer des matériaux très solides en profondeur. Un bouton présent sur la coque de la machine permet d’ailleurs de répéter la dernière gravure. L’idée est de pouvoir refaire une “passe” pour graver en profondeur ou de marquer facilement des objets identiques. Un plateau amovible sert de protection à votre table ou bureau mais il est également possible de graver directement celui-ci pour marquer des objets plus grands.

L’alimentation peut se faire de multiples façon avec des entrées USB dédiées soit à un bloc secteur 12 volts fourni, soit à une alimentation depuis une batterie externe USB classique en 5 volts.

Alfawise C50

Il manque peut être un port USB pour une approche directe, sans avoir recours à un Wifi extérieur, pour que cette graveuse soit pratique en mobilité. En l’état, il faudra toujours recourir à une machine via Wifi, ce qui peut être pénible dans certains cas. Le logiciel peut prendre en charge divers formats d’images dont le JPG, le BMP, le TIFF et le PNG. 

Alfawise C50

La Alfawise C50 propose des pieds en plastique assurant une protection minimale quant à la dangerosité du laser. Une paire de lunettes de protection est également livrée avec la graveuse. Comme d’habitude, il faudra veiller à la sécurité des utilisateurs présents dans la même pièce. Les pieds en plastique transparents verts ne sont pas suffisants pour assurer une protection efficace, toutes les personnes à portée de regard de cet engin devront porter obligatoirement des lunettes de protection. Un système de protection physique occultant le laser du regard semble être la meilleure solution. Associée à une évacuation des fumées générées par la brûlure du laser, c’est une solution idéale d’un point de vue sécurité. L’achat d’une paire de lunettes plus évoluées que celles livrées peut également être une bonne solution.

A noter qu’un détecteur de chocs et de mouvements est intégré à la Alfawise C50, cela évite de continuer à graver “dans le vide” ou sur votre bureau. Cela évite également de perdre votre objet déjà gravé en partie avec un décalage des traits.

Cette graveuse laser sera disponible début Août, il est possible de la pré-commander pour 104.37€ aujourd’hui avec le code ALFAWISEC50.

Alfawise C50 : une mini graveuse laser simple à utiliser © MiniMachines.net. 2020.

Entries Now Open for 2020 Rise Awards

Running for its second year, the awards recognise women who are stand-out performers, innovators and leaders in the global broadcast technology sector Rise, the award-winning membership group for gender diversity within the broadcast technology sector, is pleased to announce that entries are open for its annual Rise Awards. The Rise Awards are sponsored by Clear-Com, ...

The post Entries Now Open for 2020 Rise Awards appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Xite Labs

Par : Marco Savo

Xite Labs is an audiovisual creative studio working at the intersection of art and technology, digital media and interaction design.

The team is formed by top-notch audiovisual artists who have left an unparalleled mark in the world of electronic music.

They have delivered off-socks-knocking 3D mapping installations since 2000, working with internationally renowned musicians such as Tame Impala, Infected Mushroom, Steve Aoki, Skrillex and Amon Tobin to name a few.

Audiovisual artist - projection mapping

We have been lucky enough to attend their mind-blowing audiovisual experience developed with Amon Tobin, for his international tour following the release of the album ISAM. That was back in 2012 at Sonar Festival in Barcelona.

Tobin’s avant-garde IDM soundscapes lead the way for the audiovisual storytelling who took the audience on a unforgettable journey. The show started with an otherworldly cube-shaped structure coming to life.

The stage then turned into a ship launched into space with Tobin residing in a hyper-sleep pod. After dream-like hallucinations Tobin comes out actually wearing the suits shown in the animation.

A complex audiovisual narrative that blurs the boundaries between real and digital world, firing all sorts of trickery to cleanse out the audience of all their spatial references. Only when we lose all the anchor points we are truly primed to experience the digital voyage.

ISAM takes us on a journey through the unexplored universe generated by the EDM soundscape of Amon Tobin to the bring us back to the core of the action: the musician and his performance.

In my opinion, Xite Labs major breakthrough is their ability to truly animate their installation, snapping out of the static AV sculpture by delivering an immersive experience where all senses are captured within the space.

Their audiovisual world is disorienting and astonishing as it builds up in front of our eyes, departing far away from the bidimensionality of the screen experience.

Audiovisual artists

Formed in the year 2000 as V Squared Labs by Vello E Virkhaus they have then merged with Tandem Digital Entertainment in 2018 to form XiteLabs.

Through the leadership of Greg Russell and Vello Virkhaus the audiovisual studio continuously executes next level experiential visual artistry.

The duo is always taking “never been done” concepts and turning them into reality. This process always starts with the blank page, and working with clients to define the words, scenery, illumination, content, interactivity, and the means to deliver it all.

Contact

Website

Facebook | Vimeo | Instagram

The post Xite Labs appeared first on Audiovisualcity.

NDI Monitor Mac window issues

Par : shadlx
Hello

It seems that on latest Mac OS (10.15.6 for me) there is no way to re-open the NDI Monitor window if it's closed without quitting and re-starting the app, when left open the app still runs happily however does nothing as the window is gone and will not come back. This feels like a bug!

Thanks

Richard

NDI studio - saving layouts

Par : shadlx
Hello

I may be being blind but I can't see a method of saving the layout of an NDI Studio session, each time I open it I am back to an empty screen. Is there any way to do this as it's really annoying having to set it all up each time..

Thanks

Richard

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