LiveU has announced that one of Japan’s leading video streaming channels, AbemaTV, is implementing LiveU cellular bonding technology to produce its online news and entertainment business. AbemaTV is using over 20 LiveU field units, including the LU600 HEVC, combined with the LiveU Central cloud management platform to live stream shows and events from various venues ...
An annual global event like the 2020 NAB Show is host to many professionals within the entertainment/media industry. For tech professionals, this is a great opportunity to invest their time and energy into a computer networking company like Arista, which has pioneered software-driven, cognitive cloud networking for large-scale datacenter and campus environments. This company ...
This year at the 2020 NAB Show in Las Vegas, Asustor America Inc.’s three recently released new apps will bring cloud backups together into two apps while ASUSTOR Live brings streaming and storage of live streams to various open platforms. Asustor America Inc.’s three new apps were designed for modern professionals and content creators, ...
Globally recognized award underlines how Dejero exponentially improves flexibility in location coverage for newsgathering and live events crews Waterloo, Ontario, January 20, 2020 — Dejero, an innovator in cloud-managed solutions that provide award-winning video transport and Internet connectivity while mobile or in remote locations, has been awarded a second prestigious Technology and Engineering Emmy® ...
One of Asia’s leading live streaming platforms has turned to LiveU’s HEVC IP bonding technology to provide high-quality live video coverage of its events. 17 Live is using LiveU’s leading LU600 HEVC units to transmit live coverage of the events direct to their 17 Channel, turning fans into loyal, long-term customers with engaging live online ...
Good content is essential to the communication of any brand or voice. Grass Valley specializes in that area as it works to empower customers in creating, controlling and connecting content wherever, however, and whenever it is consumed. There will be plenty of content to consume at the Grass Valley exhibit this April at the ...
Umea, Sweden, 16 January 2020: Intinor, Sweden’s leading developer of products and solutions for high-quality video over internet, has joined the Secure Reliable Transport (SRT) Alliance. SRT is an open source video transport protocol that optimizes streaming performance across unpredictable networks, enabling the best quality live video to be transported over even the most questionable ...
The post Intinor joins SRT Alliance appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE.
Los Angeles—Presenters for the 67th MPSE Golden Reel Awards will include Grammy Award-winning recording artist Melissa Manchester, All Rise star Nadia Gray, The Climb director Michael Angelo Covino, Dark/Web star Michael Nardelli, Gabby Duran & the Unsittables star Valery Ortiz and Stucco director Janina Gavankar. The awards ceremony is scheduled for Sunday, January 19th at ...
LiveU’s wireless video encoder, Solo, is being used by Isha Foundation – a non-profit, public service organization founded by Sadhguru – to connect with millions of well-wishers and volunteers in India and around the world. The Foundation uses Solo to stream live events, notably the night-long Mahashivaratri festival at Isha Yoga Center – which is ...
In the lab programming and making game show buttons for live events. Some days are funner than others #millumin #arduino #liveevents (at Detroit, Michigan)
This Christmas Season will have everyone celebrating in holiday-spirit mode! Even high caliber tech nerds much like us from the broadcast and post-production realm are ready for the holly jolly Christmas up ahead! In staying true with the holiday tradition, Ryan Salazar of Broadcast Beat Magazine asked Christmas lovers on many of our social media ...
By Jason Coari, Director of Product Marketing, Quantum For most of modern history, technology evolution has arrived in such a manner that innovation is driven by the application of technology to more and more specific use cases. In the automotive world, there was once just one type of rubber compound used for tires across all ...
Cypress, CA, December 4, 2019 – With some of the biggest names in sports scheduled to appear and workshops covering the most pressing technology topics, the 14th annual SVG Summit, is an integral event for those involved in sports production for broadcast, venue operations, college or team operations, asset management and digital/OTT. FOR-A Corporation of ...
As an Amazon Web Services company, AWS Elemental MediaLive combines deep video expertise with the power and scale of the cloud to provide users with nimble/flexible software-based video processing and delivery solutions. AWS Elemental MediaLive allows for customers to adequately harness the elasticity of the cloud when necessary with on-demand and with pay as ...
After seeing Shoeg’s project Infiltrate at LEV Matadero, we decided to catch up with him in Barcelona to find out more about his work, and to try and decipher the fascinating performance we saw that intrigued us to discover what technologies he uses to create his live AV shows.
Primarily I understand, you would consider yourself to be a musician, am I right? Or how would you label yourself? When did you decide to experiment with the A/V side of your show?
In the last years I’ve changed that way of seeing myself, so I would say I’m an artist. It’s not only sound anymore, I feel really that I am trying to express myself also through my code, my visual stuff, even my movements. I’m also collaborating with dance companies, where it is quite important to know how you move on stage, and this made me aware of that. So, for example I try to play without the table and computer blocking the visual line to the audience. I have also changed my relationship with sound, focusing more on textured layers instead of pitch.
I started as a “musician”, but my visual side has been always there. I’ve been working for 15 years as a video editor, and I always had this fascination about image and sound synchronicity and feedback.
Have you created the visual part of the show yourself or collaborated with a visual artist? (If so, who and why?) If not, tell us about how you developed the project and any challenges you faced in dealing with both elements of the performance.
I almost always create my own stuff. I’m not closed to collaborating with other people, but I tried to involve other artists in the past and for a reason it almost never happened, except for when I worked at the very beginning on the project with Ana Drucker, but after that I spent 2-3 years without a visual show, and I was really missing it. At some point, I wanted it back and I decided I had to refresh my coding knowledge to achieve what I wanted. I studied Computer Science for a couple of years, so at least I had a starting point – more or less.
I wanted to build a real time reactive visual system, that could be completely autonomous in a live set. The idea was to set up a bunch of rules, and do something sound reactive that could last 45 minutes in a live set without getting boring. So first challenge in this process was choosing which tools suited my needs the better. I tried, for example, Open Frameworks, which was a bit too complicated for my coding skills. Later, I knew about game engines like Unreal or Unity, which are free and you can do a lot of things scripting, easier to code. It’s also great to have this good amount of documentation and works done by other people online. I’m curious now about what Touch Designer can do, but for the moment Unity allows me to have a precise control of what I need.
On the other hand, I wanted to work with objects from the real world in 3D aesthetics. I could model them with Blender, but I have no idea. So I learned some 3D techniques, like photogrammetry or 3D scanning. I remember wanting something more “perfect”, but discovered almost by accident the beautiful imperfections this techniques introduce in the models.
We recently saw your performance of your latest project ‘Infiltrate’ at LEV Matadero. What tools and set up are you using for the show?
All the sound was generated using a couple of Etee sensors that the guys at Tangi0 lent me for a couple of months. These devices capture my hand and finger motion, as well as pressure data, and that is converted into MIDI signal through a Max MSP patch. Finally, MIDI is sent to the Virus and Digitakt. I had to bring hardware synths to the live sets, because I need a lot of polyphony to build these big layers of sound, and I couldn’t achieve it in virtual synths. Then, the visual stuff is a Unity app reacts to the sound mix.
How does the use of this technology improve, or add to the quality and experience of your show for you, as an artist?
It allows to express myself in ways I could’ve never imagined. I’ve never performed as comfortable and with wide palette of possibilities with an instrument until I discovered motion sensors combined with the computer. The ability to map any behaviour to any response allows you to optimize your abilities in order to get what you want. This can’t ever happen with “traditional” instruments, you have to adapt to the instrument rigidness and background. I also see the coding process as a prosthesis, an extension able to repeat mechanical operations while you pierce through them.
What does the future hold for Shoeg in the world of live performance?
In the near future, I have to improve a lot of things: I want to make my hands more prominent on stage and be less computer dependent. People keep asking what is happening with the sensors, and I want to make it a bit more understandable. I also have this long list of ideas to code which don’t have time to make, and I would also like to collaborate with other people. But before that, I want to record a new album. I hope I’ll be able to work on it in the next months.
You can find out more about Shoeg’s work through his artist page.
The post Blurring the boundaries between technology and the individual – Exclusive interview with Shoeg. appeared first on Audiovisualcity.
The past week, 5th – 9th November, MIRA FESTIVAL celebrated its 9th Edition and Audiovisual City were present to enjoy the program that featured audiovisual shows, 360-degree experiences in DOME format, installations, workshops and conferences.
This edition rethought the combination of art and technology as tools of protest, to turn thinking into action, and invited us to interfere in a personal transformation to trigger a change in the future. In addition to this ingenious theme, the festival opened a new stage at Fabra i Coats, dedicated to multidimensional sound: the 3D Sound Room by Estrella Galicia.
For the live AV shows, we want to highlight some well-known artists that MIRA festival brought this year. Thursday Sam Shepert (AKA Floating Points) played accompanied by the visuals of Hammill Industries. Friday’s Av highlight was CLARK feat. Evelyn Bencicova and her show of a wide gamma of textures along with his characteristic techno. Alessandro Cortini also produced some emotional content through electronic sounds, with his warm and human visuals. On Saturday Biosphere performed a series of recordings and improvisations captured outdoors on the island of Senja, and Vessel and Pedro Maia presented the dualities of the human condition. But these are just some of the many artists who participated in this edition.
Some of the artists that surprised us at Audiovisual City were, on Friday, the Nihiloxica band, with their intercultural experiment, fusing the indigenous Bugandina percussion with dark European club music. Also, on Saturday, the duet of 700 Bliss, with who you clearly see a relationship with the theme of the festival, sounds and words are embodied in suffering and social alignment in an unfair world. And finally, Curl, on Saturday, where we could see an unexpected turn in the style of the band, showing a previous experimental work. The originality and strength of these artists left us astonished.
We show you some of the magical moments that we captured at the festival.
Elite badminton players from around the world congregate each year to compete in the Malaysia Open, an important stop on the circuit of tournaments sanctioned by the Badminton World Federation (BWF). Fans unable to make it to Axiata Arena in Bukit Jalil this year were kept apprised of the latest updates via high-quality YouTube live ...
BURBANK, CA, NOVEMBER 19, 2019 — As the largest privately held, minority-owned Spanish-language broadcaster in the United States, Liberman Broadcasting, Inc. (LBI Media, Inc.), produces over 50 hours of original television programming each week. LBI Media’s fast-paced news studios require adaptable, quick to set up and easy to operate audio solutions. In order to shift ...
WAYNE, NJ, NOVEMBER 18, 2019 – The new CONNECTED CAM broadcast camcorder from JVC Professional Video, a division of JVCKENWOOD USA Corporation, is being put through the paces in the newly built HD control room at Philadelphia’s Parx Casino and Racing. Now equipped with nine JVC CONNECTED CAMS, the casino’s thoroughbred horse racing division selected the cameras to help ...
The post Parx Casino and Racing’s New HD Control Room Crosses the Finish Line with JVC Connected Cam appeared first on NAB Show News by Broadcast Beat, Official Broadcaster of NAB Show - NAB Show LIVE.
Carlos Martorell is a sound and visual artist based in a small Catalan town called Torelló, near Girona. His work focuses on the symbiotic relationship between humans and technology. He uses his programming skills and knowledge of new technologies to explore the visual and audio through the creation of experimental music and live AV.
He creates sumptious virtual worlds through programming language such as Unity, as well as with 3D scans. It’s not uncommon to see him performing with non-traditional MIDI equipment, using apparatus such as gloves and hand-held technology, which as an adds a peculiar physical dimension to his live shows.
Header photo © Hayley Cantor
Earlier this month, we met with Marta Verde to find out about her performance with Tensal at LEV Matadero, and to pick her brains about all those niggling little questions we had after following her career for the last few years.
Who are the artists that you are most looking forward to seeing at LEV Matadero?
Myriam Bleau and Ryoichi Kurokawa.
How were you contacted about the project at LEV Festival?
They called me and proposed that I collaborate with Tensal for their edition at Matadero in Madrid. I had never worked with him before.
Do you ever find that some genres of music just don’t inspire your work?
Absolutely. In general I don’t work on the clubbing, or nightlife scene, so related styles of music wouldn’t be my first choice of project. I actually started doing visuals with traditional Galician music.
Do friends often come to see your performances?
Yes, it depends on the performance. These days they tend to film me in vertical, so I rarely have content that I can use other than for Instagram [she laughs]
How do you feel about being on stage as a visual artist?
I don’t really like that part at all, but of course it’s part of the job. I’m quit shy, really. My show at LEV Matadero is quite different from what I usually do – in terms of music genre, as well as the time of the performance – pretty late, since I’m on at 1am.
What is the most unusual project are you’ve worked on in your career so far?
A few years ago I worked on a project with a musician called Julián Elvira who built a flute that played different frequencies (I had no idea that this wasn’t already the case with flutes!) It was really interesting, because I learnt a lot about music and we were able to work very closely together for the collaboration. We premiered the show in Martin E. Segal Theatre, New York.
What are you working on at the moment?
Right now, I’m working on a live performance with Madrid-based composer, José Venditti. He plays saxophone, and works on deconstructing sound through classical patterns.
What set-up will you be using for your performance tonight?
A couple of months ago I bought an analogue video synthesizer from LZX Industries. It’s really fun. There’s no preview, so anything can happen, and I also can’t save any presets. I also won’t be using any code for this show, which is very unusual for me. I’ve always been fascinated with the idea of analogue video techniques, and don’t really understand why people go to great lengths to copy the aesthetic digitally, when they could just try to get a real one.
Do you use social media a lot to promote your work?
You can follow me if you like, my instagram account is mainly dominated by photos of my cat and screenshots of my work. I don’t really get work through social media channels, people tend to contact me directly. The work is really interesting and every project is completely different. Usually I’m presented with some kind of problem and I find ways to solve it.
Apart from doing visual performances, you are currently working at a Fab Lab, right?
It’s very common for freelancers to supplement their work through teaching, which I love. I find it really motivational and inspiring to work with young people and their ideas. I used to work as a coordinator in a Fab Lab, and I still give classes on programming and digital manufacturing there, but not on a regular basis anymore. I tend to work in different locations and on a more ad-hoc basis, that way I can combine teaching with my own projects.
If you want to read more about Marta’s work, you can check her artist profile page here.
The post Marta Verde on her live A/V show with Tensal, at LEV Matadero appeared first on Audiovisualcity.
The Hague, Netherlands – November 12, 2019 – Boston Limited, today announced the launch of Stream+ during a keynote address from Manoj Nayee, managing director Boston Limited, during the Xilinx Developer Forum (XDF) Europe, 12 – 13 November, The Hague, Netherlands. Stream+ is an optimised solution enabling large scale ultra-high-density live video encoding. The new ...
The post Boston Limited launches Stream+, an optimised solution for large-scale ultra-high-density live video encoding appeared first on NAB Show News by Broadcast Beat, Official Broadcaster of NAB Show - NAB Show LIVE.
New hardware-and-app solution turns a phone and external video source into a complete production platform, making it easier than ever before to create high-quality live content November 7, 2019 — Reading, PA: Video content creators ranging from professionals to social media enthusiasts can soon have a better way to share their vision with their audience ...
The post StreamGear Fuses Smartphone and Dedicated Cameras into New Live Video Production Paradigm with VidiMo appeared first on NAB Show News by Broadcast Beat, Official Broadcaster of NAB Show - NAB Show LIVE.
This week, we caught up with Huma about his most recent project ‘Eva,’ to find out a little more about how his musical project developed into a live AV show. Huma is Andrés Satué’s personal project, an evolution from his early musical days in a rock band to his more recent progression into the world of electronic music. He’ll be performing ‘Eva’ at Mira Festival, Fabra i Coats, Barcelona, Thursday 7th November
Tell us a bit about the visual side of your show. What can the audience expect in terms of live A/V performance?
The idea is to treat light from a 3D environment by making the light beams coincide, forming geometric figures in motion in the air.
Have your created the visual part of the show yourself or collaborated with a visual artist? (If so, who and why?) If not, tell us about how you developed the project and any challenges you faced in dealing with both elements of the performance.
I’m working with Jose Vaaliña from Eyesberg studio. It was a very natural collaboration, we met after finishing two gigs I did in Barcelona and we talked about the possibility of working together as we have very similar ideas about the relation between music and visuals, now it’s happening and I can say we are both really happy with the results.
What tools and set up are you using for the show?
We are using 5 powerful projectors, various smoke machines (fog and hazer) and also some visuals. The beams of light will react to sound to create a symbiosis between both. Also we will use some lights and strobes for punctual moments.
How do you feel about the importance of the visual experience in your projects past and present?
It is something I have always thought about as a very important element. Even when I played in rock bands lots of years ago we always carried a few lights to add impact to the final part of the show.
Since I’m working as Huma, I collaborated with Drömnu using visuals at the very beginning, then moved to colorful L.E.D.s, smoke and strobes working with Juan Pablo Larrazabal and now I wanted to try new things and Jose appeared. I like the idea of doing something immersive, not something that you have to look at the detail or that can distract the public but something that will enhance the music.
You’ve been making music for more than 10 years now. What is the project that you are most proud of, or have the most attachment to so far?
Well, I’m always more attached to the last thing I’ve ever done. Even though I really think that ‘Eva’ and this show is the project in which I have worked the most on and the project I’m the proudest of to date.
Got any questions for Andrés, Eyesberg, or just want to share anything with us? Jot down your thoughts below
The post 3D light and audiovisual show by Huma and Eyesberg appeared first on Audiovisualcity.
KCRW recently relocated from the basement of a building on the Santa Monica College main campus, to a new state-of-the-art $38-million headquarters at Santa Monica College’s new Center for Media and Design. This new facility is a culmination of 11 years of fundraising, designing, installing, integrating, and training by KCRW staff and the partners involved ...
Le LPM (Live Performers Meeting) vise à promouvoir et à diffuser la libre circulation des idées, de l’expertise, des techniques et des langages liés aux arts de la scène audiovisuels, qui seront au cœur de la réunion. 4 jours remplis d’activités spectaculaires, innovatrices, innovatrices, percutantes et engageantes que vous aussi contribuez à rendre uniques.
Les nouveaux langages audiovisuels, le lien entre la création artistique et les technologies de pointe, les nouveaux médias et le public, les produits audiovisuels les plus en vogue, les technologies innovantes et les tendances de demain : tels sont les thèmes que le LPM veut aborder lors de leurs séminaires et ateliers.
Envoyez votre proposition pour un spectacle, une conférence, une présentation ou un atelier, et créons ensemble l’avenir d’AVarts et participez au plus grand rassemblement d’arts de la scène audiovisuels !
Le LPM recherche :
What happens when you combine three great things? In today’s featured routine video, Carl Rag is back with an amazing new live remix performance. He’s taking on Whitney Houston’s “How Will I Know”, and chopping it up on the Akai MPC Live, with a Midi Fighter 64 in tow as well. Watch the routine below: […]
The post A Midi Fighter 64 Rigged Into An MPC Live, Plus Whitney Houston appeared first on DJ TechTools.
OSLO, NORWAY, OCTOBER 28, 2019 – Appear TV, a leading provider of next-generation high-quality video processing platforms for broadcast and streaming, has launched Zixi input and output support on the X platform. The Appear TV X platform is a dedicated solution for high speed video networking, enhanced IP security, video distribution and contribution. Designed for near limitless capacity, ...
Fremont, CA – October 28, 2019 – Blackmagic Design today announced that its ATEM Constellation 8K live production switcher was used as part of an Ultra HD 12G-SDI and fiber live production workflow at WE Fest, the largest country music festival in the United States and the longest running in the world. Now in its ...
El documental «Visualist» sigue de gira. Después de su premier en Signal Festival de Praga, llega a Valladolid para su estreno en España. Después de la proyección, tendrá lugar una mesa redonda con sus directores y otras figuras representativas de la cultura audiovisual nacional para debatir sobre algunos de los temas que aborda el film. ¿Qué es el arte AV o arte audiovisual? El documental lo presenta como un formato artístico sólido, diverso y profundo que surgió de la escena de club y logró atravesar las puertas cerradas de las mejores galerías del mundo. Un formato que pertenece al futuro.
La Semana Internacional de cine de Valladolid Seminci, incluyó bajo la sección “Seminci TRANSMEDIA” en su 62ª edición un ciclo de Live Cinema en su programación de la mano de bit:LAV, el año pasado sumaron una de las caras más innovadoras del cine actual: la realidad virtual. Este año, para la 64 SEMINCI, bit:LAV se atreve también con un nuevo escenario y un nuevo formato: el Fulldome en el Planetario del Museo de la Ciencia.
El ciclo dará comienzo el día 22 de octubre de 2019 con el estreno en España del documental Visualist, Those who see beyond de Manuel Cid y Pedro Pantaleón, que estarán acompañados en una posterior mesa de debate moderada por Virgina Díez, impulsora y co-directora del Festival de Cine Creative Commons de Valladolid (ccVAD).
En este debate también participará Óscar Testón – OTU, productor del documental y creador de la revista digital Vjspain.com; Patricia Dominguez Larrondo, responsable del Laboratorio audiovisual AVLab de Medialab-Prado; Manuel Prados Sánchez, artista y productor cultural, coordinador del Laboratorio de Realidades Sintéticas y Agencia_RV en Medialab-Prado y AlHuerto, impulsor del festival de artes visuales y sonoras DUAL CLUB que tiene lugar en el Espacio Tangente, centro de creación contemporánea independiente de Burgos.
Te dejamos a continuación la programación por horas de las actividades de Seminci Transmedia 2019.
ESTRENO VISUALIST & MESA DE DEBATE
¿Dónde? Sala Experimental – Teatro Zorrilla Plaza Mayor, 9, Valladolid
¿Cuándo? 22 Octubre 18h – 21h
-Proyección documental: Visualist, Those who see beyond, Pedro Pantaleón, España
-Mesa de debate: Creación transmedia: nuevas narrativas y lenguajes vinculados al arte audiovisual.
Sala Experimental – Teatro Zorrilla Plaza Mayor, 9, Valladolid
23, 24 Octubre 11h-13h 17h-20h
25 Octubre 17h-20h
CROW The Legend VR (Inglés) EEUU 2018 18’
ZERO Days VR (Inglés) EEUU 2017 22’
Dinner Party VR (Inglés) EEUU/ Puerto Rico 2018 14’
Kinoscope VR (Inglés) Francia 2017 10’
La Fuga L. 360º VR (Español) México 2018 7’
Perdido en el Tiempo VR (Español) España 2018 16’
El Sueño de la Hija del Jaguar VR (Español) EEUU / México 2019 8’
Planetario – Museo de la Ciencia, Av. de Salamanca, 59, Valladolid
24, 25 Octubre 18h
Sacred Geometry, Darklight Studio
IMMERSIVE, Jeremy Oury
end(O), Alba G Corral & Alex Augier
SPHERE, Mickaël Le Goff & Robert Koch
Latent Space, Monocolor
Bio Inspire, VOID
De nuevo bit:LAV acerca a la ciudad de Valladolid las propuestas tecnológicas más novedosas y ofrece nuevas formas de entender la creación fílmica. Porque hoy, para el cine, no existen los límites de la pantalla.