Connexion
These days AV artists are hiding out all over the place, this time curiosity didn’t kill the cat, as I stumbled upon the work of Cinema.AV on Instagram. it’s amazing where a hashtag can take you… #videosynth. I was keen to find out how someone so visually analog ends up that way, and how they manage in an ever expanding digital world (at the time of writing more so than ever).
1.Tell us about your first ever live gig? When was it and how did it go?
For years, I used to play a kind of ambient, soundscape style of music, and for live performance, I would put whatever found vhs tape behind me for visuals. Often without a screen. It often just turned into lighting for my performance, instead of clearcut visuals.
Fast-forward to a couple years later, in summer 2015, where I started buying jvc video mixers, archer and vidicraft boxes. It was here where I took it upon myself to do visuals for a show I had booked. Sadly, I didn’t realize, the projector couldn’t handle the distorted signals I was throwing at it. Luckily though, someone at the last moment, let me borrow theirs. It was total godsend. The result was this hyper-distorted cross between national geographic videotapes. It worked for the more abstract, psychedelia I had booked for the evening,
Later down the line, I found the need for time base correctors in live performance, and mixers equipped with such. To evenly blend, rather an abruptly with one of those RCA Y splitter cables turned on end. Which is actually the same as the classic Klomp dirty mixer. It was all stuff I got for free, or nearly no money. Never top of the line. Always the most difficult, least practical solutions. But the result was always unique to the moment, to the performance; endlessly fleeting.
2.We discovered your work on Instagram. How do you usually connect with the AV community online? Does social media play a big role for you?
Strangely, yeah. I hardly ever go out locally, unless of course I’m playing a show. So beyond that setting, you’ll never find me in the wild. Even before this quarantine action, I was a total homebody. Staying in whenever possible to work on art and infinitely explore the machines. So having access to social media platforms is actually key to the whole system. I can actively gauge what pieces people actually like, what ideas stick and in turn, get shared with a larger audience.
Its those posts that snowball into bigger and better gigs. As the recognition on a global scale is significantly more gratifying than just the local efforts I receive so often. In fact, for the better part of 2019, I was very busy with live video work. Having nearly no time off, I accepted this as a lifestyle, rather than just hobby. And in the social media zone, I’ve been able to publicly beta-test things like the Erogenous Tones Structure module, Phil Baljeu’s custom vector graphics system and as of late Andrei Jay’s latest raspberry pi video synth and feedback algorithms as hardware devices. The curiosity the results generated have in turn, sold modules and made the manufactures money to sustain their efforts.
…having access to social media platforms is actually key to the whole system. I can actively gauge what pieces people actually like, what ideas stick and in turn, get shared with a larger audience.
To be fair though, I’m not sure how much of this actually real. If it’s all made up, or the reactions are fabricated. It’s a fine silver-lining we’re all walking along. One day, a post could generate hundreds of interactions, while the next day, nothing. I think alot of that could actually be the option for folks to drift between realities, between the physical and the cyberspace. It’s in this cyberspace, that I do often connect with other artists, say for example my bud Konopka and has online video painting series. To watch him create something entirely from scratch, in real time, thousands of miles away is a true head-spin if you think about it. But not even 5 years ago would have been possible.
3. It’s fascinating to how analog and digital worlds inspire AV artists. What’s your take on the two and how do you find working with analog systems for live visuals?
Truly. When I first got started, it was all analog, all found devices. Though in time, I’ve found the whole LZX modular zone, which started analog and now has drifted into this wild digital hardware dimension that has opened up all kinds doors. The obvious attraction to the large analog modular is the physicality and pure intuitive nature of the whole thing. As in a live setting, there is nothing more fun and unpredictable than a hand-wired mess of cables and devices to create this ever-fleeting dialogue, never again to be replicated. For ambient, for house, for techno and literally everything in between, there’s this infinite body that just works, and often never crashes or fails.
If anything, it’s always the digital component that freezes or fails first. I’ve done shows with computer artists that for some reason or another, who just can’t make it work that particular night.
If anything, it’s always the digital component that freezes or fails first. I’ve done shows with computer artists that for some reason or another, who just can’t make it work that particular night. So just step in and end up taking over the evening with my system. However, I’ve had my fair share of venues tell me their systems are HDMI only. So learned to convert the analog composite outputs of the modular to the HDMI with aid of things like Ambery converters and scalers, Extron scalers, and even the silly Blackmagic shuttle, that has it’s own share of issues. It wasn’t until last summer that I realized the Roland V4-EX had a very effective means of conversion and scaling to HDMI, VGA, and back down again. The result was a total game-changer. So I sold my other mixers, and devices to scale up to HDMI and hadn’t looked back. This meant I could seamlessly work with digital projection systems and streaming processes. And from the get-go, it’s been used in every performance effort since. It’s even let me collaborate with both digital and analog artists alike. To fade and key between all manner of artists and ideas.
So little things like that make the whole system go, which leads me into the question…
4.What’s your basic setup when do performance live AV shows? (If you have one)
I am constantly pushing myself as an artist. So every year or so, I’ll experience this major creative shift around winter time, when my job at the photo lab temporarily shutters for winter break on campus. It is is then where I have about a month to chill and regroup my mind. This generally means some new gear enters the studio, and in turn the dirty warehouses they get thrown into for live work.
In 2019, I saw my modular system grow from a single 6U, two row case that could fly on any airline, to a larger 12U, four row system, that for the majority, made it’s way into every gig. In tandem with the V4-EX, the two were all I needed to do 8-10 hours of a rave whatever else I was getting booked for. However, the few time I flew out for one-offs, I brought it back down to 6U. Which was a lot of fun and lent itself to collaboration with other artists. It was in this time though, away from gigs and rather chill moments at the lab, where I began to experiment with the virtual dimension of VSynth, the Max/Msp visual extension. The result was very reminiscent of my larger modular system. Though at the time, my computer could only handle small patches. Anything big would see my computer begin to overheat and grind to a halt.
This got me looking at computers, seriously. As a video generation and manipulation tool, much in the same way the dedicated hardware was, but a larger, more sophisticated, and recallable level. It was months of research and a very generous donation within the family that lead me onto a gaming-oriented laptop, complete with a dedicated graphics card, that in it’s day was considered high-spec, and miles beyond my aging macbook. From the moment I lifted open the box and got it booted, I went straight into complex Max patches and dense 3D structures with the aid of Resolume Arena. When I realized I could save, and recall every motion, I started plotting how to gig with it. To layer to pieces together and to treat Resolume as a video sampler of my analog devices. What began to happen was a meshing of dimensions. No longer was one any better than the other. They were one of the same. It was with this entry that live performance physically became less stressful and far more manageable. No longer did have to carry this unwieldy modular system on a train or a bus. I could now discreetly carry the common laptop computer, just as everyone else.
Setting up and breaking down, with the projector, is a two cable, two power supply motion. So quick and so light. With the aid of a midi controller, all the tactility remains, and nothing changes. The digital results do look incredible though. I cannot deny that. No matter what I have though, I make the best of all of it. For touring, in 2020, my setup is just that. I did some dates with Steve Hauschildt and Telefon Tel Aviv across Texas and the process was so smooth. Same for the brief efforts with LLORA and BATHHOUSE, just weeks ago. So much less to think about, all with the same manipulations and motions.
5. What would be your dream AV gig?
Currently speaking, the dream is still to tour, to travel and do large scale art installations with my video work. I had things lined up, but those have all fallen in favor of the current pandemic. But that’s honestly not going to hold anyone for long. These things will all still happen, just not soon as I had anticipated. I was truthfully hoping to break into the festival dimension; Mutek, Movement, Sonar, Aurora, as from a live scale, that feels like the next big move, amidst touring through the theaters and dedicated art spaces. I’ve had tastes of all those, but like anyone serious about their craft, I want to further and really make a name for myself, as truly, I don’t know what else to do.
Find out more about Cinema.AV on his artist page
The post We pick the brains of Cinema.AV on his beautiful video synth work appeared first on Audiovisualcity.
Berlin, March 31, 2020: Ruptly, the award-winning video news agency, has today announced a strategic partnership with TVU Networks, the global online broadcast distributor. The long-term collaboration will allow media partners to receive Ruptly’s live transmissions over the internet at full broadcast quality using the TVU Grid platform – a faster, more intuitive and more ...
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Broadcast technology solutions provider NativeWaves GmBH is pleased to announce that telecommunications executive Eva Wimmers has joined the company as CEO. Ms. Wimmers has over 24 years of experience as an executive in the technology and telecommunications industries, most recently as President of Huawei/HONOR Europe and Vice President of HONOR Global. Prior to joining Huawei ...
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In the last two weeks, the world has seen a massive increase in the amount of DJ sets streamed to the internet. With clubs across the world shuttering their doors and artists staying home, many have taken to sharing their own creative expressions via livestream. Before you dive into streaming DJ sets, make sure you […]
The post Livestreaming DJ Sets in 2020: A Complete How-To Guide appeared first on DJ TechTools.
The new release includes significant AR and usability improvements and launches in a week when disguise also made its Designer software free for six months
The post Latest disguise software update powers the next level of Augmented Reality experiences for home and live audiences appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
Virtual training. Live on Facebook.
● Intro to Millumin + best “hidden tips”
● Streaming starting Tuesday at 14:00 UTC
● Come in and chat
http://millum.in/live
#millumin #live #training #streaming #facebook
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With live-streaming soaring, the class-leading Shogun 7 HDR monitor-recorder-switcher is in high demand. It’s easy-to-use live switching and multi-channel ISO recording function make it quick and easy to deploy into settings from houses of worship to colleges, to vloggers front rooms. It offers a no stress setup to create live multi-camera content in no time ...
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Cypress, CA, March 24, 2020 – FOR-A Corporation of America has built integrated live production solutions that combine its HANABI series of video switchers with Variant Systems Group replay systems, ClassX graphics and playout software, ODYSSEY Insight video servers, and Brainstorm Multimedia virtual studios. “Together with our technology partners, FOR-A is creating live production ...
The post FOR-A Delivers Video Switcher Integration with Technology Partners for Live Production Solutions appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
Learn how to sell virtual tickets Virtual tickets are great ways of increasing the excitement and revenue for your event. In a new book called The Virtual Ticket, Paul Richards the Chief Streaming Officer for PTZOptics reviews how any event can add a virtual ticket experience to become more profitable. Using a virtual ticket for ...
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Cypress, CA, March 19, 2020 – FOR-A Corporation of America continues to develop products that support 12G-SDI infrastructures for live production workflows. Among its offerings are the new MFR-4100 and MFR-6100 12G/6G/3G/HD/ASI routing switchers, as well as the HVS-6000 Series of HANABI video switchers, which support HD and 4K production. “For live event production ...
The post FOR-A Switchers, Routers Support 12G-SDI Infrastructures for 4K/8K Live Production Workflows appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
We highlight the best free downloads and deals available for music producers under quarantine.
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Sony Electronics Inc. today announced completion of an agreement with international outsourced technical production partner NEP Group for the purchase of more than 50 Sony HDC-3500L and HDC-5500L cameras. A longtime Sony customer and collaborator, NEP will use these products to support live sports productions and entertainment events worldwide, giving at-home viewers front row seats. ...
The post NEP Standardizes on Sony’s HDC-3500 and HDC-5500 4K HDR Live Production Camera Systems appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
What is your background and how did you get into broadcast sound? I have been in live broadcast television since I was 17 and just about to graduate high school. I knew I wanted to be involved in audio, and at first I wanted to be in music. I wanted to tour with a band ...
The post Calrec — Chuck Ibey, A1 Mixer: A craft interview appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
NAB 2020, April 19 – 22, Booth N5329 – iSize Technologies, the London-based deep-tech company specializing in deep learning for video delivery, will be showcasing BitSave v.2, the next-generation ‘precoder’ for perceptual optimization of video content prior to subsequent encoding, at NAB 2020. This is the first time iSize is exhibiting at NAB. BitSave v.2 ...
The post iSize Technologies to showcase BitSave v.2, the next-generation AI-powered Technology and SaaS Video Encoding Platform at NAB 2020 appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
NAB 2020, April 19 – 22, Booth SL5121 – Hitomi Broadcast, manufacturer of MatchBox, the industry’s leading audio video alignment toolbox, and the new MatchBox Glass app for near instant lip-sync alignment of mics and cameras, will be running live demos on its stand at NAB this year to showcase their capabilities for live broadcast. ...
The post Hitomi to host live demos showcasing their capabilities for near instant lip-sync alignment of mics and cameras at NAB. appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
NAB 2020, April 19 – 22, Booth SL11216 – Cinegy, the global leader for cloud and on-premise broadcast software solutions, uses NAB 2020 to reinforce its strong support for Secure Reliable Transport (SRT) while at the same time making end-to-end workflows including for 8K and HDR, affordable. This fact is illustrated with its enhanced, new ...
The post Cinegy bets all on SRT, brings 8K to everyone, and launches new, all-in-one TV Pack suite at NAB Show 2020 appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
Smartphone-enabled content creation platform combines innovative hardware and feature-rich app to put live, multi-camera production power in users’ hands March 9, 2020 — Reading, PA: Excitement around the smartphone-empowered VidiMo handheld, live production system from streaming solutions startup StreamGear Inc. has been rapidly building since its first private showings in the fall and its public ...
The post StreamGear to Make NAB Show Debut with Hotly Anticipated VidiMo Live Streaming Production Solution appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
The process any creative undertakes requires a steady workflow. Luckily Pixellot fulfills that need, and it will do the same this year at the 2020 NAB Show. This global media event will be held at the Las Vegas Convention center. The 2020 NAB Show is an event solely designed for broadcast professionals from all ...
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The Future Group reveals key involvement in NFL’s Super Bowl LIV, mixed reality pre-game presentation OSLO, NORWAY — 06 March 2020: The Future Group, provider of live photo-realistic virtual production system, Pixotope™, has revealed its key involvement in the stunning production and delivery of the NFL’s ground-breaking Super Bowl LIV, mixed reality pre-game ...
The post Pixotope supercharges the Super Bowl with ambitious live mixed reality production appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
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ALEXANDRIA, VA, MARCH 5, 2020 – Jetwave Wireless announces a major company expansion with the opening of its brand new, New York City-area facility, dedicated to productions throughout the region. Now in its fifth year, Jetwave is an industry leader in production wireless and communications, providing equipment and support for the broadcast, live events, location ...
The post Jetwave Wireless Expands With New Dedicated New York City Area Office appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
The 2020 NAB Show is coming up soon. Last week, Telestream®, a leading provider of workflow automation, media processing, quality monitoring and test and measurement solutions for the production and distribution of video, announced that Vantage IMF Producer, a Vantage option that automates the creation of IMF (Interoperable Master Format) packages from Adobe® Premiere® ...
The post Telestream Vantage IMF Producer Enables Automated/Low-Cost IMF Packaging Workflows appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
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Qligent is changing the game for OTT service providers that produce and deliver live-streamed events, offering a new solution that eliminates the expense and maintenance of a permanent monitoring infrastructure. To be introduced at the 2020 NAB Show, Qligent’s Dynamic OTT Monitoring solution packages all of the QoS, QoE and Compliance Monitoring benefits of ...
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Sportzcast, an international leader in real-time scoreboard data integrations, most recently announced their partnership with the National Fastpitch Coaches Association (NFCA). Sportzcast is now the sole provider of fully-automated video livestreaming of the 2020 NFCA Division I Leadoff Classic Tournament Presented by Rawlings, which was held at the Eddie C. Moore Complex in Clearwater, ...
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Madrid, 16th April – 3rd May, 2020
Madatac is a new media art, video art and audiovisual technology focused festival based in Madrid, Spain. It’s a veteran in the industry, celebrating it’s 10th year this year. The 2020 edition MadatacX will be celebrated 16th April – 3rd May and will include AV performances from the likes of Kenta Nakagawa, Franck Vigroux & Antoine Schmitt and the great Ryoji Ikeda.
Rather than following the common one price for all festival format, events take place over a longer period of time with various viewings and performances spread in nice little doses, great for busy audiences who are only able to attend a little at a time.
With an open philosophy, framed within a universalist, pedagogical and free access commitment, which places special emphasis on the innovation, originality, risk and poetics of audiovisual projects focused on the experimental art of new media, it has the aim to serve as a real, virtual and itinerant laboratory where artists can present their latest creations.
Find out more about the festival here:
Website | Instagram | Facebook | Twitter
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Cypress, CA, Feb. 19, 2020 – FOR-A Corporation of America today announced PBS39/WLVT‑TV, part of Lehigh Valley Public Media based in Bethlehem, Penn., upgraded its control room last August with a FOR-A HVS-2000 HANABI video production switcher and ClassX broadcast graphics system. The new equipment has improved the on-air look of the station’s original programming ...
The post With New FOR-A HVS-2000 Switcher and ClassX Graphics, WLVT-TV Improves Production Workflows and On-Air Look appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
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Last year, VisualOn Inc., the industry-proven video streaming solutions provider, announced that KDDI was utilizing the VisualOn Media Platform (VMP) to revolutionize the live sports experience to stream the FIVB Volleyball World Cup Japan 2019, broadcast by Fuji Television Network, Inc. KDDI delivered the first live sports stream in Japan utilizing Ultra-Low Latency CMAF ...
The post VisualOn’s Partnership With KDDI Pioneers Use Of Ultra Low Latency CMAF And Multiple Camera Angles For Live Sports appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
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As the world continues to embrace the digital age, the need for broadcast professionals with technical knowledge and sophisticated implementation methods becomes more relevant, especially when it comes to the future of video delivery. This year at the 2020 NAB Show, SSIMWAVE will be an exhibitor where it will showcase its latest live monitor. ...
The post SSIMWAVE Inc. Will Showcase SIMPLUS LiveMonitor At 2020 NAB Show appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
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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.
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Atomos announces a new technical collaboration that makes recording and monitoring a HD live-switched multi-camera shoot on Roland video switcher easier than ever. When recording a feed on an Atomos monitor-recorder from the new Roland V-8HD HD Video Switcher you can now trigger recording directly from the switcher. The Roland V-8HD is the smart 8-input, ...
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