DoPchoice Delivers Custom Light Modifiers for ARRI Orbiter

DoPchoice GmbH www.dopchoice.com Lightbank, Octa 4 & Dome Snapbag® Light Directing Essentials DoPchoice is now delivering a new range of Snapbag light control tools, custom designed for the ARRI Orbiter LED fixture. Each interface directly with the new ARRI QLM mount for quick, secure installation. youtu.be/y4a4eMQTt8c New Snapbag® lightbanks for the Orbiter are a departure ...

The post DoPchoice Delivers Custom Light Modifiers for ARRI Orbiter appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

SmallHD Indie 7 Smart Monitor: Creative Control for Filmmakers on an Independent Budget

Raleigh, NC — Creative Solutions has announced a new addition to its SmallHD product lineup. The Indie 7 debuts this month as an entry-level member of their Smart 7 monitor family, further expanding creative control for filmmakers in need of a reliable touchscreen field monitor. Featuring optional software upgrades for Camera Control access to RED® DSMC2® and ...

The post SmallHD Indie 7 Smart Monitor: Creative Control for Filmmakers on an Independent Budget appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

BB&S Lights Quarantine short: We Can’t Go On

Directors Michael Livingston, Amanda Dreschler and DP Dan Kneece Amanda Dreschler and Michael Livingston didn’t let a detour like the COVID-19 pandemic shunt their creativity. Just the opposite— they channeled their isolation experience into inspiration and pulled out the stops—writing a script, learning the majority of crew positions, and sharpened their directing, acting and editing ...

The post BB&S Lights Quarantine short: We Can’t Go On appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Introducing PrimeTime’s LED Remote Broadcast Kit

DALLAS – “Now you can have the same professional LED lighting as TV studios for your remote or home broadcast, stated Glen Harn, PrimeTime Lighting president. PrimeTime just launched the MSLED 5-S remote video light kit for remote studio applications. The kit is commercial-grade quality for users working from home for newscasts, stream videos, zoom calls, podcasts ...

The post Introducing PrimeTime’s LED Remote Broadcast Kit appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

⁣ ⁣⁣ ⁣#repost @geraldinekwikmusic⁣ ⁣__________________⁣ ⁣⁣ ⁣LUX...

View this post on Instagram

A post shared by Millumin (@millumin2) on Aug 27, 2020 at 2:50pm PDT

⁣
⁣⁣
⁣#repost @geraldinekwikmusic⁣
⁣__________________⁣
⁣⁣
⁣LUX NATURAE / Part 1 of 6 ⁣
⁣Glad to have my music played on the bridge in Skopje last week end, written for the SKOPJE LIGHT ART DISTRICT 2020 festival.⁣
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⁣Visual Artists : Aurélien WOJTKO @_aurelien.w/, Susie-lou CHETCUTI, Patrick GRANDI, Jules HUVIG @juleshuvig/, Frédéric HAUDEGOND ⁣
⁣Original Music & Sound Design : Geraldine KWIK⁣
⁣Production : Loom Prod France⁣
⁣Organization : @sk_light_art_district/⁣
⁣Place : Stone Bridge - SKOPJE - MACEDONIA⁣
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⁣#skopje #ckonje #macedonia #stonebridge #bridge  #light #art #district #3rd #edition #going #green #mapping #projectionmapping #composingmusic #composer #orchestral #musicforpaintings #movingimage #digitalartist #night #millumin #frenchcomposer #streetart #skopjeinfo #instagraphynet #sklad2020 #skopjelightartdistrict (at Stone Bridge, Skopje)
https://www.instagram.com/p/CEaI-ccJtZn/?igshid=bu38zy4nlpuv

⁣ ⁣⁣ ⁣#repost @luis_satch⁣ ⁣__________________⁣ ⁣⁣ ⁣Otro...

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⁣#repost @luis_satch⁣
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⁣Otro homenaje a todos los involucrados en esta #pandemia estamos muy agradecidos. Gracias al @gobnau que nos dio la oportunidad de llevar este agradecimiento a más personas, fuimos los primeros en hacer #videomapping en las torres de Satelite y ahora en una basílica que tiene más de 500 años. @pluxstudio @omagicamx @eventosinlimites. Gracias a todos los que hacen posible esto. #video #homenaje #covid #doctores #bomberos #basilicadelosremedios #naucalpan #luces #colores #epson #reflects #lights #3D #millumin #watchout #resolume #aftereffects #motiongraphics #eventos #meetingplanners #meetings
https://www.instagram.com/p/CEaH9tbJAww/?igshid=iwtv4srol26x

Brightline Expands LED SeriesONE Offerings for Studio Lights with Variable Color Temperature, RDM Control

Bridgeville, Penn. – Aug. 6, 2020 – Brightline, a leading manufacturer of energy efficient lighting systems, today announced it has upgraded its L1.2 and L1.4 LED SeriesONE studio light fixtures with variable color temperature and improved color rendering. Plus, the fixtures are now available with optional wireless DMX/RDM (remote device management) control that provides bidirectional ...

The post Brightline Expands LED SeriesONE Offerings for Studio Lights with Variable Color Temperature, RDM Control appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

UMBRA LIGHT FESTIVAL: Open Call

DEADLINE: 13 September 2020

The Iberian Peninsula has been a hotspot for audiovisual culture and new media arts for many years.

Groundbreaking events such as LEV Festival and Sonar (just to name a couple) have left an indisputable mark in the international AV panorama.

UMBRA Light Festival is a new audiovisual event in Vitoria-Gasteiz celebrating its second edition in February next year.

UMBRA is launching an open call for all audiovisual artists working the field of Light Art.

If you feel like exhibiting your work in the beautiful Basque Country, surrounded by lovely people and delicious food… Well, this might just do the trick!

The festival showcases projection mapping, audiovisual installations and light sculptures in order to develop a dialogue between new media and the urban context of the Basque Country capital city.

The participants have total freedom regarding the proposal theme. However proposals addressing environmental issues and/or United Nations  Sustainable Development Goals (SDGs) will be highly valued by the jury.

These will be the main focus of the 2021 edition of UMBRA Light Festival.  The installations will be selected accordingly to the sculptural value and interactive implementation of art and light.

The selection process will be finalized within one month after the submission deadline. All finalists will be notified individually by e-mail

The artists may present proposals as an individual and/or collective. There is no limit to the number of members per team, however each proposal requires a distinct form and must be completed accordingly.

The Jury or selection committee, appointed by Argia_3, is made by professionals from lighting design, public space intervention and the Light Art sectors.

The Jury shall take into account the artistic quality, originality, innovation, and themes regarding sustainability (SDGs), as well as features of the artwork regarding the actual set up within the festival capabilities.

Contact

Website

Apply

Facebook | Twitter| Instagram

The post UMBRA LIGHT FESTIVAL: Open Call appeared first on Audiovisualcity.

A studio sun system with light-artist Arnout Meijer – Random Studio

Created by Random Studio in collaboration with Arnout Meijer and RWA Electronics, the project is comprised of a lighting system in Random's studio that emulates the movement of the sun and the ever-evolving states of natural light.

The post A studio sun system with light-artist Arnout Meijer – Random Studio first appeared on CreativeApplications.Net.

SmallHD Debuts Reference-Grade 4K OLED

NEWS RELEASE SmallHD www.smallhd.com Effective: July 29, 2020 SmallHD Debuts Reference-Grade 4K OLED Orders for SmallHD 4K Production Monitors begin today SmallHD announces a new entry into the reference-grade monitor space: the OLED 22 4K Production Monitor. Setting a new standard for color purists, this stunning 4K color reference monitor boasts many of the advanced ...

The post SmallHD Debuts Reference-Grade 4K OLED appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

⁣ ⁣⁣ ⁣#repost...

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⁣#repost @delight_lab_oficial⁣
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⁣Intervención lumínica de anoche sobre la Torre Telefónica en apoyo al pueblo de Palestina y rechazo a la anexión que se le quiere imponer. Chile es el país con mayor población de palestinos fuera de su territorio, mandamos desde acá un gesto de apoyo y resistencia al pueblo de Palestina y a su gente que vive acá y en el resto del mundo. Compartimos un poema palestino de Casey Cadao del 2016. ⁣
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⁣Sueño de Libertad⁣
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⁣Acuéstate conmigo⁣
⁣y escucha mi canción⁣
⁣De amor y pérdida⁣
⁣De mal terrible⁣
⁣Una tierra de aceitunas⁣
⁣Una tierra de cidra⁣
⁣Una tierra de naranjas y limones⁣
⁣Acuéstate en mis brazos⁣
⁣Hij@ de bendiciones⁣
⁣Sueño de nuestra tierra⁣
⁣con un profundo deseo⁣
⁣Suelo rico, agua clara⁣
⁣antiguo como los olivares⁣
⁣Mientras tenemos hambre y sed⁣
⁣recuperar nuestros recuerdos⁣
⁣Todo para ti hija⁣
⁣Nuestro hogar robado.⁣
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⁣….⁣
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⁣A Light intervention last night on the Telefónica Tower in support of the people of Palestine and rejection of the annexation. Chile, the country with the largest population of Palestinians outside their territory, we send a gesture of support and resistance to the people of Palestine. We share a palestinian poem by Casey Cadao from 2016.⁣
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⁣Freedom Dream⁣
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⁣Lie here with me⁣
⁣and hear my song⁣
⁣Of love and loss⁣
⁣Of dreadful wrong⁣
⁣A land of olives⁣
⁣A land of citron⁣
⁣A land of oranges and lemons⁣
⁣Lie in my arms⁣
⁣child of blessings⁣
⁣Dream of our land⁣
⁣with a depth of wishing⁣
⁣Rich soil, clear water⁣
⁣ancient as the olive groves⁣
⁣As we hunger and thirst⁣
⁣call up our memories⁣
⁣All for you daughter⁣
⁣Our stolen home.⁣
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⁣#savepalestine #noalaanexion #freepalestine #palestinalibre #caseycadao #palestinalibre #palestina #chiledesperto #annexation #palestino #chile #politicart #artepolitico #videoprojection #videomapping #lightart #lightintervention #chileayudapalestina #savepalestine #kufiyya #hattah #trap #millumin #confinamiento #pandemia #covid19 #chile #poesia #poetry (at Chile)
https://www.instagram.com/p/CDDvVavJc99/?igshid=1x40vyj2rp76o

The Future Group Unveils Significant Mixed Reality Advances in Pixotope Version 1.3

  Our object tracking software integration allows users to reach new levels of freedom while interacting with virtual elements on set   OSLO, NORWAY — 23 July 2020: The Future Group, creators of live photo-realistic virtual production system Pixotope®, today unveils its latest Version 1.3 software featuring a wide range of advances that significantly improve ...

The post The Future Group Unveils Significant Mixed Reality Advances in Pixotope Version 1.3 appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

[Sinusoidal Noise] – A study of movement in sinusoidal chaos

Sinusoidal Noise is a modular light installation that uses random oscillating patterns to create a larger sense of movement. The work comprises 98 pixels each of which fades on and off at a unique frequency. These slow, detuned oscillations create the illusion of shapes emerging, where light appears to pass between pixels as they move […]

The post [Sinusoidal Noise] - A study of movement in sinusoidal chaos first appeared on CreativeApplications.Net.

Nouvelle bande démo lighting et look-dev pour Mirko Zambataro

Mirko Zambataro nous présente sa nouvelle bande démo lighting/look-dev, avec ses derniers projets personnels.

On y retrouvera notamment la locomotive qu’il avait mise en scène dans le cadre du dernier concours 3DVF : un projet qui lui avait valu de remporter une carte graphique et pour lequel nous vous avions proposé un making-of.

Enfin, n’hésitez pas à découvrir les autres créations de Mirko Zambataro sur Behance et Artstation.

L’article Nouvelle bande démo lighting et look-dev pour Mirko Zambataro est apparu en premier sur 3DVF.

SmallHD Launches Focus Pro Series Rugged On-Camera Monitoring and Control for RED® KOMODO™

SmallHD has purpose-built the new line of Focus Pro monitors to pair with the RED® KOMODO™ camera. Available in both 5” LCD and OLED versions, each maintains SmallHD’s clarity, vivid color detail, and dynamic touchscreen camera control while balancing between durability and lightweight design. Focus Pro unleashes the full potential of KOMODO with its intuitive touchscreen ...

The post SmallHD Launches Focus Pro Series Rugged On-Camera Monitoring and Control for RED® KOMODO™ appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Microsoft Flight Simulator : le studio Asobo vous fera planer avec date et bande-annonce

Microsoft nous fait rêver un peu plus avec une nouvelle bande-annonce pour le prochain Flight Simulator, développé chez le studio français Asobo.

L’équipe, basée à Bordeaux, nous propose ici des images présentées comme capturées en temps réel. Le jeu sera compatible 4K et HDR, et vous donnera accès à « plus de 2 millions de villes, 1,5 milliard de bâtiments », sans compter les reliefs naturels, arbres, rivières, animaux ou encore la circulation automobile. Rappelons que le jeu s’appuie sur les données Bing Maps et le système cloud Microsoft Azure pour proposer des environnements 3D à la fois réalistes et détaillés.

Sans surprise, l’expérience saura s’adapter à vos compétences et envie, qu’il s’agisse d’être guidé ou au contraire d’opter pour une simulation pure et sans aide. De même, vous ferez face à des conditions météo diverses : jour/nuit, système de gestion du vent, de l’humidité, de la température…

Microsoft Flight Simulator est disponible en précommande en plusieurs éditions : Standard, Deluxe (5 avions en bonus, modèles de vol uniques, 5 aéroports faits main supplémentaires) et enfin Premium Deluxe (10 avions, modèles de vol uniques, 10 aéroports en plus).
Compatible PC/Windows 10, le jeu exige au minimum 150 Go d’espace de stockage et une NVIDIA GTX 770 ou une Radeon RX 570. Bien évidemment, si vous comptez jouer en 4K et/ou avec les options graphiques avancées, vous aurez intérêt à disposer d’une machine plus musclée. Notez enfin que la VR n’est pas prévue pour le lancement du 18 août, mais pourrait évidemment faire l’objet d’un add-on ultérieur.

L’article Microsoft Flight Simulator : le studio Asobo vous fera planer avec date et bande-annonce est apparu en premier sur 3DVF.

Steve Gerges

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.

KEEP YOURSELF CLEAN Exhibition: Online

Virtual Reality and gaming tools are rapidly becoming the essential vehicles of expressions for audiovisual artists during the Covid-19 imposed restrictions on public events.

We know, we know: no virtual experience can substitute the actual audiovisual event. But that is not the point. The point is experimenting and evolving beyond boundaries accordingly to the contingencies we face in a particular given time.


Audiovisual art as every form of art expression is driven by the tools available, the internal factors such as time and budget, and the external ones, such as venue restrictions or the total lack of them.

Now a lot of digital artists are facing the same problem and they are responding in different ways. The Russian audiovisual art collective VOLNA decided to turn their first solo exhibition: KEEP YOURSELF CLEAN into a virtual reality experience using Unreal Engine.

The video gaming tool is being widely use in audiovisual art and virtual events. It allows you to simulate real-time scenes and lighting effects.  Exhibition visitors are invited to immerse themselves in the surroundings of each installation and can move freely in the room and choose any observation point.

The following works were reconstructed for the exhibition: the audiovisual installations NEUBAU (2016), Powerline (2017) and Rotor (2018), the light installation Octave (2018), the installation Vague (2019), and two kinetic light installations, Duel (2019) and Nymphéas (2020).

Despite the site-specific nature of the works, the overarching artistic principle behind all of them is the search for a universal language of pure forms. These forms, which correspond to the abstract subjects of the installations, are refined during an extensive detailing process, minimalist in their expressiveness and often even have a functional nature.

The eight installations generate intimate spaces where the viewers sits in contemplation of the structural semiotic elements that compose them: light, sound, movement. Each room triggers different emotions slowly revealing themselves while we explore the space and embrace its unique atmosphere.

The primary expressive element in VOLNA’s work is light and its various characteristics, its interaction with space, as well as its movement, the rhythm of chiaroscuro and the way chiaroscuro scenarios unfold in relation to time. Some works include synchronized sound, created to interact closely with the light’s dramaturgy.  

The virtual exhibition space itself is hetero-topic and at the same time proportional to the original exhibition locations. The model exhibits displayed inside it are as close as possible to their real prototypes and preserve the original structural details, including the nature of the lighting and scenarios behind each of the live installations.

The original sound design and ambient sound environments are reproduced, and each work’s context and theme are discussed in an accompanying text.

In conclusion the exhibition Keep Yourself Clean attempts to embrace all the real and virtual layers of information that make up each of the works, and then let the works themselves become the determinants of perception.

Each of the contexts will “re-sort” in the virtual world, rethink and obey the laws of perception, and each work, in turn, will become an experience of sensory contemplation.

Contact

The post KEEP YOURSELF CLEAN Exhibition: Online 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.

Civan Lenses “Lush Life” Music Video for “Orion” with BB&S Lighting

When Timur Civan was called upon to shoot a music video for the title track of “Lush Life” by New York City-based band, “Orion”, he took his cue from the pop rock tune and decided to have fun with it. Dubbed “bouncy music for bouncy people,” its reggae vibe brings to mind lilting palm trees, ...

The post Civan Lenses “Lush Life” Music Video for “Orion” with BB&S Lighting appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

What digital did next: Digital Arts and Social Distancing

How digital arts can unlock value and opportunity in a socially distanced cultural sector?

Marco Savo from Audiovisual City and Kate Rolfe from The Revels Office have never met in person. Theirs is a true digital relationship born of the pandemic.

Cultural consultants who met over Zoom to explore where their world’s crossed-over, and how their mix of experience could help artists, freelancers, and the arts sector as a whole to combat this unsettling time.

Audiovisual City is a digital magazine that promotes and supports audiovisual artists and events worldwide. Connecting hundreds of digital artists from across the world, it is the go-to place for inspiration and information when it comes to the application of digital technologies in artistic expression.

The Revels Office is a cultural consultancy who specialises in finding new revenue for the arts, advising organisations on commercial opportunities and uniting them with funding partners who value the unique, high quality content that only the cultural sector can produce. Together with a network of consultants -The Catalyst Network – the team at The Revels Office manage a range of projects at the intersection between arts and commerce.

Together with a multi-disciplinary group of experts who all have touch-points with digital arts experiences, Audiovisual City and The Revels Office ran a workshop to explore what role digital arts projects could play in the future of arts organisations.

At a time when the sector is anxiously remodelling their core operations to survive months of low visitor numbers, reduced income through established business lines, and a new, uneasy socially distanced experience, we wanted to investigate what untapped value digital arts might offer.

We share with you here a summary of our findings, designed to inspire you at a critical time, to offer valuable ideas to consider in your re-modelling plans, and to decipher the role that digital can play in a sector based almost entirely on live and tangible experiences…

Case Study: Enjambre Cellular

Developed by Mónica Rikić, Enjambre Celular is a project created and designed specifically for the Medialab-Prado interactive façade.

It is a collective strategy game in which different levels and challenges must be overcome, based on the idea of a labyrinth. Controlled externally by passers-by, Enjambre Celular offers an example of a pandemic-proof artistic installation.

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Case Study: Distances

Developed by Scenocosme, In this installation, two people in two separate physical spaces are filmed in real time by two devices.

They are invited to have contact virtually within the same image, bringing them together face to face. The head-to-head image created by the software is trying to constantly reduce the proxemic distance between the two people, creating unique and ephemeral meetings with the other and making a connection even when physically apart.

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Digital art vs digital design.

To make informed choices about the use of digital, it is important to understand the distinction of digital art as an artform in its own right, and digital design as a tool for engagement.

Put simply – do you need to move your live content online for commercial, audience or safety reasons, or do you want to create a new interpretation of your content that will explore your stories in an entirely new way? Neither choice is right or wrong, but it will impact the outcomes you achieve, as well as the process you go through.

“The importance of concept is key; you must start with your concept and then chose the technology to match”

Hayley Cantor

What digital art and digital design have in common is their ability to bridge between traditional cultural content and modern, digitally aware audiences, and allow people to fully interact with the arts.

No solution is quicker for overcoming an image of being elitist, static or uninteresting than a digital initiative, so long as it is done well, has a clear purpose and audience, and so long as it incorporates some kind of live and/or unique element that ensures the digital is not simply a mimic of the live experience.

While digital design is fantastic for bringing to life educational and historic content, and is arguably simpler for translating to an online platform, where digital arts stands out is in the sensorial, emotive experience that they can create, lasting longer in people’s memories and creating a sense of community and harmony even if you encounter the art alone.

Digital arts is the perfect solution for a hybrid cultural offering, connecting those experiencing it online and those there in person, allowing for smaller, safer groups to pass through it without losing the commercial, social and artistic benefits of scale.

Case Study: Virtual Archive.

Virtual Archive is a 3D, computer-generated environment open to interactive exploration by single users.

Via a VR headset, the user flies through a 3D data-point cloud formed, visualizing more than 1,700,000 documents present in SALT Research archive collections. Refik Anadol’s installation was displayed as an extension to the artist’s Archive Dreaming project.

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Case Study: Natural History Museum of Valparaisa.

In the Introductory Room at Natural History Museum of Valparaíso, Chile, visitors meet an installation of naturalistic illustrations of flora and fauna of the region, highlighting the work of Claudio Gay among others.

Developed by Delight Lab, this project was realised in partnership with the SUMO design and museum office for DIBAM.

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It’s time to set the price.

The price we have paid for the vast amounts of thrilling, comforting and informative digital content that has been dispersed throughout the global lock-down, is the expectation that digital means free.

Digital comes with development costs, artist costs and new software and/or infrastructure requirements, among other operational demands. Digital content is by no means free to create, and so why is it presented as free to consume? There are two ways of looking at this dilemma.

• Option 1 is to embrace the non-financial value that going digital presents: reaching new and much larger audiences, collecting insightful data, offering educational and social benefits, and adopting new methods in storytelling and human connection.

In this way there is still value, there are no barriers to audiences engaging with you, and you can use data and reach to collaborate with new funding partners, upsell products and services, and request donations wherever possible.

In this way we have seen a really positive response during the pandemic, with culture-lovers willingly paying for online experiences, seeing this as a charitable donation to save something they love rather than a charge for valuable entertainment. However this has not yet translated into a consistent approach that audiences and funders recognise, or indeed made up the huge gap in revenue that arts organisations face.

• Option 2 is to revaluate and recommunicate the value of the digital experience, and set up platforms that give organisations the option to charge.

Given the high value outlined by option 1, it seems reasonable that – just like the expectation to pay for the cinema or a gig – you will have to pay to participate in digital cultural experiences. This transactional view may not sit well alongside arts experiences that are traditionally free, such as museum-entry, but this demonstrates the opportunity presented by digital arts as opposed to digital design; by creating a new experience on a new platform, arts organisations can create something of value to their audiences (and new ones), one which better warrants a participation charge.

Ultimately this is an argument of supply and demand, but what we endorse is a collective reassessment of how and when to charge for digital experiences, thereby protecting arts organisations and artists from giving away valuable content for free, especially when for a time this might be one of their only viable sources of revenue.

Case Study: Fulldome Festival

The oldest full dome projection festival has been held virtually for the first time this year due to the pandemic, charging a ticket price for the online experience. A courageous decision from the organisers who decided to go full steam ahead, offering a 360 view of the festival using VR headsets.

Case Study: Mutek San Francisco, Nexus Experience

Mutek is one of the top audiovisual events worldwide, born in Montreal and then expanded through an international network. The San Francisco edition has been online this year with their ‘Nexus Experience’, hosting live AV performers on two stages, offering digital galleries, online workshops, and ‘viewing party’ film screenings. The event was free and open to donations, with 100% of the festival proceeds going directly to the artists.

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Demystifying the digital process (and budget).

Digital arts experiences are impactful and memorable no matter what their size, from single exhibition displays through to city-wide festivals. While they can be huge and expensive, often a digital intervention is as cost-effective as a live experience due to the flexibility of the format, recouping investment costs over a far longer lifespan.

For those who want to consider digital as part of their future plans, digital arts producer Steph Clarke shares some considerations:

• Once a digital installation, artwork or exhibition is installed, it can often run 24/7 with minimal staffing and low running costs. Not only can this make valuable budget savings, it also accommodates far higher audience numbers over time, and can easily be adapted to allow for social distancing measures.

• Digital works can easily have their content re-purposed to suit different objectives. Content can be refreshed regularly to suit seasonality, adapted for VIP or stakeholder events, and used for advertising purposes if required.

• It is relatively easy to scale digital work depending upon size of venue or audience size, meaning this approach can be considered for a variety of projects, places and budgets.

• Digital can be used to extend and enhance audience engagement before and after the event/exhibition itself, through engagement online and via apps, creating more touchpoints with your intended audience and opportunities to capture insights and data.

• By digitalising the content for a digital installation, you are simultaneously archiving it too, preserving it for future generations and achieving important cost-savings.

• Given the huge range of digital formats available – apps, projection, light shows, VR, AR – there will always be a format suitable for your budget, timescale and objectives.

Case Study: 400 Conejos.

As part of the Bahidora 2018 festival, Medusa Lab created a unique experience for Ache Producciones and its client: Mezcal 400 conejos.

Attendees received a complimentary drink of mezcal prior entering the dome, and once inside they discovered the mezcal making process through an immersive, colour-filled experience using animations and 360 video.

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Case Study: Pinata Tweet.

Piñata was a project made by MID for +Castro agency and the SAKE production company. The piñatas were installed as part of a collaboration with Trident Senses at Benicàssim International Festival.

The interactive piñatas are controlled via Twitter messages sent by the audience. Every tweet contained #TridentSensesPinata, which activated a device that inflated the piñata. As messages accumulated, eventually the piñata exploded over the audience!

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Audiovisual City and The Revels Office plan to now work together.

We aim to connect arts organisations with digital artists and commercial partners, creating inspirational and viable projects in a time of pandemic.

Together we will champion the skills, value and authenticity that digital art and digital tools can bring those looking to find new audiences and new revenue. Get in touch to discuss how these ideas could be applied to your own organisation – hello@therevelsoffice.co.uk

This article was written by Kate Rolfe from The Revels Office and Marco Savo from Audiovisual City with contributions from Hayley Cantor (Audiovisual City Creative Director, Multidisciplinary Graphic Designer and VJ), Sean Carroll (Business Improvement Project Manager), Nicola Casperson (Brand Marketing, Events and Place-Making Consultant), Steph Clarke (Digital Arts Producer), Marta Minguell Colomé (New Media Artist, VJ and Photographer), Amy O’Brien (Events Producer), and Mónica Rikic (New Media Artist). Collectively our experience includes roles at the National Gallery, Natural History Museum, Secret Cinema, Battersea Power Station, Westfields, and London’s Philharmonia Orchestra.

BUY US A COFFEE?

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⁣ ⁣⁣ ⁣#repost @mpstudio3d⁣ ⁣__________________⁣ ⁣⁣ ⁣Just teasing...

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A post shared by Millumin (@millumin2) on Jun 3, 2020 at 3:21am PDT

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⁣#repost @mpstudio3d⁣
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⁣Just teasing you with a short #flashback of some of our shows from Festival of Lights Berlin 2019⁣
⁣#mpstudio #3dmapping #projectionmapping #videomapping #art #3dart #lightfestival #festivaloflights #cinema4d #c4d #octane #ae #adobe #aftereffects #motiondesign #event #best #digitalart #instaart #mappingprojection #3drender #millumin #watchout #catlover #artoftheday #festival #contemporaryart (at Berlin, Germany)
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Delight Lab

Delight Lab is an audiovisual design and experimentation studio pivoting around the concepts of video, light and space.

Established in 2009, covering a variety of projects such as large-scale videomapping projections on architecture, museology audiovisual installations, audiovisual stage design for performing arts, audiovisual content for commercial events, and audio-reactive visuals for live shows among other things.

The origin of Delight Lab goes back when two brothers decided to make projects together at the university: Germán (Design) and Andrea (Art and Aesthetics).

Both audiovisual artists had developed investigations and experimentation with light, the phantasmagoria, the video-projection and the intervention of spaces. All different experiments culminated in a projection mapping on the facade of The Contemporary Art museum of Santiago.

This projection realized in January, 2009 was one of the first mapping projections in Chile. This milestone opened the way to further investigation, artistic and technological experimentation, interdisciplinary exchange and cultural management. These values are still present in every project carried out by the duo.

Contact

Website

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Dejero to Deliver Historic Footage of Return to Human Space flight from American Soil

  Dejero will provide critical transmission and worldwide IP video distribution of NASA and SpaceX launch from Kennedy Space Center   Waterloo, Ontario, May 20, 2020 — Dejero, an innovator in cloud-managed solutions that provide Emmy® award winning video transport and Internet connectivity while mobile or in remote locations, has joined a consortium of technology ...

The post Dejero to Deliver Historic Footage of Return to Human Space flight from American Soil appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

L’adaptateur Lightning pour le TransferJet de Toshiba

Il y a quelques semaines, je parlais de TransferJet, une solution de transfert portée par Toshiba et Sony. Et j’ai reçu un adaptateur iOS, utilisable avec les iPhone.

La version Lightning (TJNA00LTB) se connecte avec une prise Lightning mâle, est assez compacte mais le plastique fait un peu cheap. Elle est certifiée MFi et c’est la seule qui fonctionne sur les appareils iOS. Assez bizarrement, il y a deux applications dans l’App Store, identiques. Touch & Get (Toshiba America) et TransferJetApp (Toshiba).

Le transfert depuis et vers un ordinateur fonctionne bien, mais l’application iOS n’accepte que certains types de fichiers (photos, vidéos, contacts). Dans les autres cas, ça ne fonctionne tout simplement pas. Les photos et vidéos sont placées directement dans les dossiers correspondants sur l’iPhone, ça ne reste pas dans l’application. Attention, le programme refuse de recevoir des données si l’accès aux photos ou aux contacts n’est pas accordé.

Vers un appareil Android, c’est la même chose. Le seul point à noter, c’est que l’application Android permet de transférer de la musique, contrairement à l’application iOS.

En réalité, même si ça fonctionne bien, l’essai de cette version iOS ne change rien : l’obligation d’utiliser un dongle et une application propriétaire limite quand même l’intérêt. C’est efficace, même pour passer d’iOS à Android, mais ça reste peu pratique. Si Sony et Toshiba avaient réussi à faire intégrer la technologie directement dans les appareils, peut-être que TransferJet aurait pu trouver sa place. Mais en l’état, c’est surtout une curiosité technique.

Illuart Festival – Call for Entries

DEADLINE: June 30 2020

EVENT: 13 November – 8 December 2020

The ILLUART FESTIVAL is looking for video artists!

The audiovisual artists are given the opportunity to participate in one of the largest light shows in Switzerland and to present their works to thousands of visitors at one of the most traditional and important locations in Zürich.

Four different video artists will be selected from all applicants in this audiovisual call. The four winners will be commissioned to create a 5-minute audiovisual production and will receive a budget of CHF 10’000.

The creations will be shown during the festival from 13 November 2020 to 31 December 2020 daily from 8 p.m.

READ MORE AND APPLY

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