Enhanced media processing capabilities and seamless integration with Dalet Flex and Dalet Pyramid solutions elevate user experience, support mobility, and expand workflow options; Successful AWS Foundation Technical Review ensures cloud excellence Paris, France – January 20, 2022 – Dalet, a leading technology and service provider for media-rich organizations, today announced significant updates to Dalet AmberFin, ...
Our annual Black Friday / Cyber Monday sale for DJs is up, with discounted DJTT products and many more deals to get.
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To start: let’s paint a picture. You spent quarantine holed up away from shows and decided to get into synths, drum machines, samplers, and the wide world of hardware noise generators and effects. Now, you have a newfound love of live jamming on your shiny, blinky gear that you want to share with the world […]
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Le fabricant de contrôleur MIDI Yaeltex lance une plateforme web pour concevoir et personnaliser votre contrôleur, le Yaeltex Factory 2. Intuitif et simple d’utilisation, vous placez les composants sur 3 types de gabarits, vos faders, pads, boutons ou potards en fonction de votre façon de jouer. Les pads, boutons et potards sont rétroéclairés par de la LED RGB. L’éditeur MIDI Kilowhat permet quand à lui de configurer votre MIDI Mapping sur le contrôleur avec différentes banques de configuration et de pages. Boîtier en bois de Patagonie et livré avec une sacoche, compatible Win, mac, Raspberry, Linux, Android, Ios.
Le prix commence à partir de 300€ pour la plus petite version et monte jusqu’à plus de 1000€ la bestiole, trouver un contrôleur MIDI personnalisable de bonne facture n’est pas chose aisée aujourd’hui, Yaeltex a trouvé la bonne solution avec leur service web.
From the likes of Bertie Sampson, blinkinLAB, Bob Jaroc, DDL, Delta Process, Dr and Quinch, Enjoy Kaos, Fade In Fade Out, Greenaway & Greenaway, Joëlle, Koolik, L’Aubaine (check out the our interview with her) Lazershaft, Lazersonic, LEDS Akimbo, Limbic Cinema, Matt Lee Vs The Positronic Man, More Eyes, Primary Visual Cortex, Rebel Overlay, REM Visuals, WeAreMidnight.
“Taking the Gas Tower from the fields of the festival world into a groundbreaking new reality, Creative Giants are excited to be joining the team Shangri-La on their voyage of discovery to Lost Horizon, which redefines what a festival can be, creating ways for people to come together and experience music and art in a way we never would have previously imagined.”Simon Vaughan, Creative Giants
“We are thrilled to showcase some of the world’s leading VJs and visual artists in this way. The physical structure of The Gas Tower has been recreated in exact detail in virtual reality, allowing viewers to look around in full 360 degrees to fully immerse themselves in beautiful visuals. We are proud to be leading the way into the digital domain, presenting ground-breaking artists with innovative and mind blowing visuals as part of this ambitious new form of live experience.”Pete Thornton, More Eyes
Light based minimalistic blade-runner-esque visuals that will make you feel retro futuristic, with everything from lasers to LED totems and 3D structures in the portfolio bag, all with a dash of Resolume control.
No messing about, this studio based in London have done whopping great visual productions for the likes of Coachella, Boomtown and The Human League (for those of you who are old enough to know who they are).
Interesting looking 3D abstract visuals that look like candy cane, sweet enough to hang off your Christmas tree. If you’re into 3D animation, mapping, photogrammetry, and art in general then Enjoy the Kaos should definitely be an audiovisual show on your AV hit-list.
Immersive tour visuals for Adam Beyer, and for Booka Shade, what’s not to inspire any keen audiovisual festival goer? Primarily focused on content creation, blinkinLAB is a motion graphics design studio based in London.
Their portfolio of work includes tour visual content creation, motion graphic design, music video, tv commercials, idents and title sequences, as well as live audiovisual performance, vj-ing and projection mapping installations.
The post LOST HORIZON FESTIVAL – GAS TOWER: 3 – 4th July, Online appeared first on Audiovisualcity.
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.
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.
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…
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.
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.
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
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.
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.
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.
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.
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.
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.
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.
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.
As part of the Bahidora 2018 festival, Medusa Lab created a unique experience for Ache Producciones and its client: Mezcal 400 conejos.
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?
The post What digital did next: Digital Arts and Social Distancing appeared first on Audiovisualcity.
Officialisation du MIDI 2.0 par le MIDI Manufacturer Association (MMA), 35 ans après la version du MIDI 1. Une harmonisation des fabricants d’instrument électroniques pour ce standard du MIDI 2.0, une résolution 32 bit, une communication bidirectionnelle, l’introduction du MIDI-CI (MIDI Capability Inquiry). La communication d’un instrument en MIDI 2.0 cherche un autre appareil pour s’auto-configurer, simplification des presets ajout du JSON, si c’est du MIDI 1.0 il fait comme d’hab. Changement du câble Din 5 en USB, mise en réseau de plusieurs instruments.
Irijule propose un contrôleur MIDI original avec une ergonomie à 96 touches sensibles à la vélocité avec aftertouch polyphonique à LED RGB, le TheoryBoard est clairement orienté composition musicale et offre une expérience synesthésique sur les gammes diatoniques, les groupes d’accord exprimés par la couleur.
– 96 touches sensible à la vélocité à LED RGB
– 24 touches pour la modulation directe à la volée
– Affichage avec écran OLED tactile
– Augmentation d’accords à la volée
– Système de balance Pentatronic
– Technologie de guitare synthétique
– Technologie d’empilage d’octave FatChord
– USB MIDI, TRS Sustain In, TRS A MIDI Out
– Compatible Win/mac, synthé et appareils mobiles
Irijule présente le TheoryBoard à 699$.
El taller de introducción a la programación visual con touchdesigner tendrá lugar en Sevilla (EPFCA Sevilla) del 10 al 12 de febrero.
– Adentrar a los alumnos en el mundo de la programación visual con TouchDesigner.
– Conocer las diferentes familias de Operadores, las funciones de cada uno y cómo crear redes de trabajo.
– Abordar diferentes proyectos de generación de gráficos animados 2d/3d en tiempo real, crear efectos de vídeo personalizados.
Profesor: Azael Jesús Ferrer Gordo.
Artista multimedia y profesional de las artes escénicas. Su trabajo incluye instalaciones audiovisuales, performances en vivo, sesiones Vj y diseños de iluminación y video.
– Introducción a la programación modular.
– Conceptos básicos de la interface.
– Analizar la familia de operadores
– Configuración básica y parámetros de render.
– Trabajando con geometría.
– Componiendo y texturizando.
– Conectividad de OSC, MIDI, DMX para el control de
– Trabajando con sensores (Kinect.y leadmotion)
– Visualización de audio reactivo.
– Creación de Interfaz de usuario.
– Creación de ejemplos prácticos.
Le Mine S est un contrôleur MIDI modulaire multi protocole et intelligent conçu pour donner le pouvoir de créer et piloter vos logiciels de musique, de VJing, show lumière ou montage vidéo. Le Mine S permet de créer votre propre ergonomie en fonction du logiciel utilisé, il est compatible MIDI, HID, OSC, DMX et Art-Net. 6 types de modules encastrables avec du potentiomètre, du bouton sensitif à LED RGB et double bouton toggle et on/off, du jog infini, du slider et du bouton blank. Mine S est capable de reconnaître la position, l’orientation et le type de module inséré. Opérationnel sur Windows et Mac via USB et MIDI IN et OUT, la bestiole est proposée sur Indiegogo en ce moment pour 285 $ en configue minimum. Sortie prévue en novembre de cette année, la campagne vient de dépasser les objectifs à 122 %, il reste 16 jours. Special Waves est une compagnie italienne, elle proposera des mises à jour du firmware régulièrement.
Studio ENESS transformed an old-school bus to take you on a trippy journey to stillness for their latest art installation, The Midnight Special.
Commissioned by Strawberry Fields Festival
Design and production: ENESS
Visuals: Hyper Reelist (Jobe Williams)
There are a lot of threads from new VJs asking about the best way to get started VJing. While some of the advice may be useful, it can quickly become an overwhelming avalanche of information. What’s Projection Mapping?? Midi vs. OSC?? Is there a standard when it comes to VJing?? Instead of giving you more things to learn, I’m […]
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