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What to Buy for a Green Screen Kit (and Where to Buy It)

Par Chuck Crosswhite

Here are some helpful tips on finding the right green screen kit — what kind of kit you should buy, what to look for in the kit, ...

Conseils d’experts : comment intégrer la fabrication additive métal dans votre entreprise ?

Par Mélanie R.

Alors que la fabrication additive métal gagne en maturité au fil des années, avec une croissance plus importante en comparaison aux procédés d’impression plastique, une question semble persister sur le marché : comment intégrer avec succès la fabrication additive métal […]

Apantac Will Showcase Modular Multi-Format Multiviewer: T# at The 2020 NAB Show

Par Andres Benetar

  As a leading designer and developer of high quality, cost-effective image signal processing equipment, Apantac LLC prides itself on providing users with flexible and innovative tech solutions for image processing, and signal extension and processing. In fact, last year, Apantac LLC added UHD outputs to its T# and Mi Multiviewers, which will come in ...

The post Apantac Will Showcase Modular Multi-Format Multiviewer: T# at The 2020 NAB Show appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE.

Quelles sont les ambitions de Marie Langer, nouvelle PDG d’EOS GmbH ?

Par Mélanie R.

En octobre dernier, Marie Langer a été nommée PDG du groupe EOS GmbH, succédant ainsi à son père, le Dr Hans Langer qui a fondé l’entreprise allemande en 1989. Très vite, le fabricant de solutions de fabrication additive industrielles s’est […]

Comment Lufthansa tire-t-il parti de la fabrication additive pour ses avions ?

Par Mélanie R.

L’industrie aérospatiale a été l’un des premiers secteurs à adopter les technologies de fabrication additive. Elles sont même devenues un incontournable dans les usines de production tant c’est une solution viable pour produire des prototypes rapides, de l’outillage mais aussi […]

#TALK3D : Rencontre avec Benny Buller, CEO de VELO3D

Par Mélanie R.

Fondé en 2014, VELO3D s’est donné pour objectif d’offrir un nouveau niveau de liberté de conception dans la fabrication additive métal. Au fil des ans, la société a permis aux ingénieurs de produire des pièces qui étaient auparavant considérées comme […]

#Startup3D : AdditiveLab et son logiciel de simulation pour la fabrication additive métal

Par Mélanie R.

Pour bien commencer l’année, on vous emmène en Belgique pour rencontrer AdditiveLab, notre première startup 3D de l’année 2020. Gagnante du Start-Up Challenge 2019 organisé par Formnext, elle a développé des solutions logicielles pour simuler l’ensemble du processus de fabrication […]

Z-CAM: Affordable Cinema Cameras You Might Not Know About

Par Caleb Stephens

Let's take an in-depth look at the Z-CAM lineup for a better understanding on the capability — and affordability — each camera delivers.

HEXA Surfboard et ses planches de surf éco-responsables imprimées en 3D

Par Mélanie R.

HEXA Surfboard est une jeune pousse française qui a misé sur l’impression 3D pour concevoir des planches de surf plus respectueuses de l’environnement, personnalisables et au design transparent. Consciente des problèmes écologiques actuels, la marque repense totalement la façon de […]

Review: Does Roland’s DJ-707M Offer The Best Toolkit For Mobile DJs?

Par DJ Soo
Roland DJ-707M Review

Some of the best tools are bespoke – custom-designed for specific uses. In today’s article, we look at Roland’s latest DJ controller, the DJ-707M, which aims to fill as many needs as possible for mobile DJs. Is it a solid choice, and how well do the mobile DJ-focused features work? DJTT contributor DJ Soo investigates […]

The post Review: Does Roland’s DJ-707M Offer The Best Toolkit For Mobile DJs? appeared first on DJ TechTools.

La technologie de 3D Potter facilite l’impression 3D d’argile

Par Mélanie R.

Basé en Floride, 3D Potter est un fabricant d’imprimantes 3D céramique qui peuvent utiliser de l’argile. Ses imprimantes 3D utilisent un système d’axe cardinal, plutôt qu’une configuration de type Delta, ce qui permet un contrôle précis avec un minimum d’effort. […]

Aleph Farms et 3D Bioprinting Solutions, vers l’impression 3D d’une viande sans abattage

Par Mélanie R.

Aleph Farms est une startup israélienne qui a développé une méthode pour produire des steaks de boeuf cultivés. Cette méthode imite le processus naturel de régénération musculaire qui se produit à l’intérieur du corps de la vache, mais dans des […]

Shooting Video Interviews with Two People at Once

Par Jourdan Aldredge

Plan accordingly, know the usual problems, and be ready to adjust on the fly: A guide to handling two people at once for sit-down video interviews.

Pourquoi GF Machining Solutions a-t-il misé sur la fabrication additive métal ?

Par Mélanie R.

La fabrication additive métal a pris ces dernières années une place importante sur le marché global des technologies 3D : on observe une croissance du nombre de fabricants de machines, des alliages et matériaux plus résistants, des logiciels qui viennent optimiser […]

Sonarworks Reference 4: Can A Plugin Improve Your Mixdowns?

Par Matthew Takata

As a music producer, there are few parts of your process more crucial than your mixdown phase. No matter what genre you’re in, properly balancing each element in your original productions can mean the difference between a club killing track and a dancefloor flop. We were highly intrigued to hear about a plugin that claims […]

The post Sonarworks Reference 4: Can A Plugin Improve Your Mixdowns? appeared first on DJ TechTools.

Review: Kali Audio Mountain View Bluetooth Input Module

Par Markkus Rovito
Review - Kali Audio MV-BT Bluetooth module

if you’d like to add Bluetooth audio compatibility to your existing setup, Kali Audio has a low-cost dedicated module for you: the MV-BT. This review examines the unit’s audio quality, performance, and value.

The post Review: Kali Audio Mountain View Bluetooth Input Module appeared first on DJ TechTools.

#Startup3D : TRIDITIVE facilite la production en série avec l’impression 3D

Par Mélanie R.

TRIDITIVE est une startup créée à Oviedo, en Espagne, en 2013. À ses débuts, elle était principalement spécialisée dans la formation en technologies FFF et au développement d’imprimantes 3D en kit. C’est à partir de cette première approche de la […]

A Detailed Review of the DaVinci Resolve Keyboard

Par Lewis McGregor

In this hands-on review, we take a look at Blackmagic's DaVinci Resolve keyboard and how it can increase your editing efficiency.

TAG Video Systems Continues International Expansion by Appointing Graphic Image Technologies as its Distributor in South Africa

Par Desert Moon Communications

TAG Video Systems Continues International Expansion by Appointing Graphic Image Technologies as its Distributor in South Africa Provider of software-based, IP Multiviewers, Probing and Monitoring solutions grows presence in key region Tel Aviv – December 3, 2019 — TAG Video Systems, the world leader in integrated software-based IP Probing Monitoring and Multiviewer solutions has appointed ...

The post TAG Video Systems Continues International Expansion by Appointing Graphic Image Technologies as its Distributor in South Africa appeared first on NAB Show News by Broadcast Beat, Official Broadcaster of NAB Show - NAB Show LIVE.

Atome3D, le français au service de l’impression 3D polymère de bureau

Par Mélanie R.

L’entreprise française Atome3D est l’un des principaux acteurs de la fabrication additive en France : elle distribue aujourd’hui une large gamme de solutions d’impression 3D de bureau, de l’imprimante au matériau en passant par le scanner 3D, et accompagne les […]

Blurring the boundaries between technology and the individual – Exclusive interview with Shoeg.

Par Hayley Cantor







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. 

Shoeg - Oudeis
Image from Shoeg’s project – Oudeis

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. 

Shoeg - skin
Image from Shoeg’s project – Container

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. 

Infiltrate - LEV Matadero
Infiltrate at LEV Matadero, photo by Hayley Cantor

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.

Les visages de la fabrication additive : Olaf Diegel

Par Mélanie R.

Notre série « Les visages de la fabrication additive » revient sur les pionniers qui ont façonné le secteur actuel de l’impression 3D. Suite à notre dernier portrait de Terry Wohlers, célèbre pour ses rapports annuels du secteur, on s’intéresse aujourd’hui à […]

Art Director Adam Rowe on Creating the Production Designer’s Vision

Par Paula Goldberg

We sat down with art director Adam Rowe to discuss his vision of success in the industry — inspiration, process, and hard work.

Les caractéristiques de 3DEXPERIENCE Make, la plate-forme de fabrication de Dassault Systèmes

Par Mélanie R.

Dassault Systèmes, leader des logiciels de conception 3D, des solutions de maquette numérique et de gestion du cycle de vie du produit (PLM), a récemment lancé son service de fabrication à la demande baptisé 3DEXPERIENCE Make. Ce service, qui fait […]

Marta Verde on her live A/V show with Tensal, at LEV Matadero

Par 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.

Analog waves in the Nave at LEV Matadero
Analog waves at ‘la Nave,’ LEV Matadero, Madrid

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.

Marta verde and Tensal at LEv Matadero
Lights and visuals, Marta Verde’s live performance at LEV Matadero with Tensal

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. 

Analog video aesthetic by Marta Verde
Analog video aesthetic by Marta Verde, for Tensal’s show at LEV Matadero

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.

Le fabricant de filaments Recreus passe à la vitesse supérieure

Par Alex M.

La technologie d’impression 3D par extrusion de filaments, aussi appelée FFF/FDM, a été ces dernières années une méthode plébiscitée par la communauté des makers au détriment des utilisateurs industriels. Cette technologie concurrence toutefois d’autres procédés de fabrication additive désormais comme […]

#Startup3D : Andiamo facilite la création d’orthèses grâce à l’impression 3D et l’IA

Par Mélanie R.

Les orthèses sont des dispositifs médicaux conçus pour stabiliser, soulager, immobiliser, guider ou corriger une partie du corps. Chaque patient étant différent, une orthèse efficace doit être parfaitement adaptée au corps et aux besoins de l’utilisateur, ce qui est rarement […]

Intersections – The Frank-Ratchye STUDIO for Creative Inquiry Celebrates its 30th Anniversary

Par Greg J. Smith
Intersections – The Frank-Ratchye STUDIO for Creative Inquiry Celebrates its 30th Anniversary
In October CAN headed to Pittsburgh to toast the 30th Anniversary of The Frank-Ratchye STUDIO for Creative Inquiry. The event was accompanied by "Intersections," a dynamic group exhibition showcasing many of the anti-disiciplinary works produced within the labs. Here, we review the show and share details about various included works.

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