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Entire 700km Summer Games Torch Journey by Extreme Athletes Live Streamed Over Twitch Using TVU Solutions

MOUNTAIN VIEW, CA – July 6, 2021 – TVU Networks, a market and technology leader in cloud and IP-based live video solutions, announced that the extreme athletes and influencers Alex Roca and Valenti Sanjuan live streamed their entire 700-kilometer tandem bike ride to deliver the Summer Games torch using the TVU Nano Router and TVU ...

The post Entire 700km Summer Games Torch Journey by Extreme Athletes Live Streamed Over Twitch Using TVU Solutions appeared first on Broadcast Beat - Broadcast, Motion Picture & Post Production Industry News and Information.

Laminar Global Partners with TVU Networks to Provide Heightened OTT Coverage for Live Sports Content Creators

MOUNTAIN VIEW, CA – June 23, 2021 – TVU Networks, the market and technology leader in cloud and IP-based live video solutions, today announced a global reseller partnership with London-based Laminar Global, a new PaaS (Platform-as-a-Service) provider. Laminar will offer TVU remote production solutions as part of its state-of-the-art platform, providing its live sports customers ...

The post Laminar Global Partners with TVU Networks to Provide Heightened OTT Coverage for Live Sports Content Creators appeared first on Broadcast Beat - Broadcast, Motion Picture & Post Production Industry News and Information.

James Ngando, artiste 3D généraliste

Par : Shadows

Découvrez les travaux de James Ngando, artiste dont les compétences vont de la 3D généraliste au lookdev en passant par le character modeling. Il est actuellement en fin d’études au sein de VFX Workshop.

Pour les studios qui utilisent notre plateforme emploi, notez que vous pouvez retrouver son profil dans la CVthèque.
Rappelons aussi aux personnes en recherche d’emploi/stage que vous pouvez créer votre profil gratuitement. Et comme annoncé la semaine passée, nous allons mettre en avant des profils de la CVthèque, comme ici, dans les semaines à venir : n’hésitez donc pas à vous inscrire !

L’article James Ngando, artiste 3D généraliste est apparu en premier sur 3DVF.

First Football Match Broadcast Over 5G Network in Portugal by Portuguese Telco, NOS, with TVU Networks and Ibertelco

MOUNTAIN VIEW, CA – June 9, 2021 – TVU Networks, a market and technology leader in cloud and IP-based live video solutions, today announced the widespread use of its technology in Portugal’s first football games broadcast using 5G technology. Premier A/V supplier, Ibertelco, connected Portuguese telco, NOS, with TVU Networks to supply video-over-IP delivery solutions ...

The post First Football Match Broadcast Over 5G Network in Portugal by Portuguese Telco, NOS, with TVU Networks and Ibertelco appeared first on Broadcast Beat - Broadcast, Motion Picture & Post Production Industry News and Information.

Bounty : un ex chasseur de primes face à son passé

Par : Shadows

Shirley Zhou dévoile Bounty, son court de fin d’études à l’UCLA Animation Workshop (promotion 2019).

Un ex chasseur de primes prépare un petit déjeuner en compagnie de sa jeune fille, qui devient de plus en plus curieuse au sujet de son métier passé.

Les dialogues sont en anglais, avec des sous-titres anglais disponibles via l’interface Youtube.

L’article Bounty : un ex chasseur de primes face à son passé est apparu en premier sur 3DVF.

Imagine Communications Boosts Production and Distribution Efficiencies with Significant Enhancements to SNP and Magellan SDNO

Industry-acclaimed processing and control platforms add functionality to improve IP workflows   TORONTO, April 29, 2021 – In support of evolving customer requirements, Imagine Communications has added a range of new functionality to its globally deployed Selenio™ Network Processor (SNP) platform and Magellan™ SDNO Control System. These new software feature releases enhance customers’ existing investments, ...

The post Imagine Communications Boosts Production and Distribution Efficiencies with Significant Enhancements to SNP and Magellan SDNO appeared first on NAB Show News | 2021 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Rohde & Schwarz develops DAB+ Mobile Emergency Transmitter for Bayerischer Rundfunk

Rohde & Schwarz meets Bayerischer Rundfunk’s requirement and develops unique mobile R&S®TMV9-4 DAB+ transmitter that can be transported in a small van, configured and operational within minutes of arriving at transmitter site. Rohde & Schwarz, a global leader in TV & radio terrestrial transmission, has created a world’s first in developing a new super-compact and lightweight portable emergency DAB+ transmitter for Bayerischer Rundfunk (BR) ...

The post Rohde & Schwarz develops DAB+ Mobile Emergency Transmitter for Bayerischer Rundfunk appeared first on NAB Show News | 2021 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Wireless Fidelity Workshop

Wireless Fidelity Workshop
How to materialize invisible data, inherent to wireless communication protocols? Author: Béatrice Lartigue, Lab212Commissioned by: ISDAT, Toulouse, FRACourse: Master DesignTopic: WiFi, “Wireless Fidelity” refers to a set of communication protocols used for wireless data transmission within a computer network. “Wireless communication is thus invading our functional space. Some people speak of an ambient network, like…

Rights-Cleared Pool Feed of First U.S. Presidential Address to Joint Session of Congress Offered on Cloud-Based TVU MediaSource Platform

MOUNTAIN VIEW, CA – April 20, 2021 – TVU Networks, a market and technology leader in cloud and IP-based live video solutions, today announced the company is providing a rights-cleared live pool feed and real-time clipping service during U.S. President Biden’s first address to a joint session of Congress on April 28th. The U.S. president’s ...

The post Rights-Cleared Pool Feed of First U.S. Presidential Address to Joint Session of Congress Offered on Cloud-Based TVU MediaSource Platform appeared first on NAB Show News | 2021 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Dejero Achieves ISO 9001:2015 Certification

Demonstrates company’s commitment to delivering high-quality products and services   Waterloo, Ontario, April 8, 2021 — Dejero, an innovator in resilient connectivity for critical communications, has received ISO 9001:2015 certification in recognition of its quality management system. The scope includes the design, development, realization, information assurance, and support of Dejero’s products and services. ISO 9001:2015 ...

The post Dejero Achieves ISO 9001:2015 Certification appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Make-Up Artists & Hair Stylist Guild Holds Virtual Gala Supported by TVU Networks Cloud-Based Video Conferencing Platform

MOUNTAIN VIEW, CA – April 6, 2021 – The Make-Up Artists & Hair Stylists Guild (MUAHS, IATSE Local 706) held its 8th Annual MUAHS Guild Awards as a virtual gala this past Saturday, April 3, 2021, with TVU Networks’ technology handling remote production duties. The show was executive produced by IngleDodd Media and produced by ...

The post Make-Up Artists & Hair Stylist Guild Holds Virtual Gala Supported by TVU Networks Cloud-Based Video Conferencing Platform appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Reposted from @opus3: “- FALTA - de Claudia Yolin. ⠀ Una...



Reposted from @opus3: “- FALTA - de Claudia Yolin.

Una obra sin performers humanxs, solo luz, que montamos para grabar durante 2 semanas en @centrogam
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⠀📸 de @sebapereiraco
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#lightingdesign #theatre #etcelement #millumin #theatredesign #solidlightworks #lightandsound #artlight #mediaart #immersiveart #lightinstallation”
https://www.instagram.com/p/CIBNEHCJqUT/?igshid=1vysxcbae3pa1

GOGBOT: Enschede, 10 – 13 September 2020

Par : Marco Savo



Gogbot is an audiovisual event for creative technology, science, new media arts and music.

Out and about robots, hard-techno futuristic music, crazy bonkers live performances, audiovisual extravaganza with a general cyberpunk attitude to bond it all together.

All of this and much more is offered by Gogbot Festival, the techno-hardcore-sci-fi audiovisual event based in Netherlands.

Basically the kind of event we would go on a normal weekend if we were living in the Mad Max universe. The main aim of the event is showcasing the most avant-garde and cutting edge trends in the audiovisual and new media world. And then push a little further!

Gogbot - Audiovisual Event - Robotics
Compressorhead - Animatronics Band

There is nothing quite like Gogbot on the audiovisual scene: AI meets AV, Science meets music, art meets activism during 4 intense days of multidisciplinary activities across Enschede.

Every year, the organizers propose a controversial and thought-provoking theme set to trigger reflection in the community and cutting-edge experimentation by the selected artists. Innovation in digital creativity is key and the festival creates a sonic space for this.

Every year, the result is an insanely powerful and immersive artistic rendez-vous that leaves a lingering impact awhile after the end of the festival.

This year theme is Quantum Supremacy, a mind-blowing, controversial, but extremely urgent theme.

Big companies such as Google, Microsoft, and IBM are competing to build the first quantum computer, a ‘supercomputer’ expected to be a staggering one billion times faster than today’s best computer. What will the quantum future hold?

In this Age of Pandemic, we are made acutely aware of our dependence on digital technology for work, education, and healthcare. Now more than ever, the growth of digital technology demands critical reflection.

Globalization and economic growth have brought us pandemic and environmental destruction. How can we break this cycle? Can we harness quantum technology to protect ourselves and the world we live in?

Pubblicato da GOGBOT su Domenica 12 luglio 2020

Contact

Website

Facebook | Twitter| Instagram | YouTube

The post GOGBOT: Enschede, 10 – 13 September 2020 appeared first on Audiovisualcity.

PATCHLAB FESTIVAL: Krakow, 23-25 October 2020

Par : Marco Savo



Patchlab Digital Art Festival is an annual audiovisual event showcasing digital art created with the latest technologies and new media.

The theme of the 2020 edition is CONNECTED. It explores the implications of the digital revolution we are undergoing in our lives due to the pandemic. The head-spinning rise of the internet based communication during the last months is still quite hard to grasp.

The internet was created originally as an effective and immediate form of communication. With the evolution of social media platforms, the world wide web is now a primary channel to express our emotions.

Audiovisual artists can help us understand the fast-changing environment we live in by visualizing the Nietzsche’s unsaid. Anything that is too complex for a total comprehension can be grasped by living the artistic experience.

Immersive installations, interactive artwork and live performance communicate complex statements through sensorial experience, giving us the chance to digest information slowly, at our own pace. Generative art as an antidote to the overwhelming data dump we experience everyday.

Patchlab festival - Audiovisual event
Matteo Zamagni, Nature Abstraction


Due to the uncertainty of in-person attendance, the organizers are planning the audiovisual event through virtual platforms. It will be therefore accessible to a wider audience through the experimental use of new technologies.

Patchlab will present art projects online and via AR (augmented reality). There will be experimental computer animations presented in the virtual cinema, remotely accessible workshops and also a dystopian multi-person computer game allowing the exploration of a post-apocalyptic New York. There will also be AV NIGHT, during which we will see unique audiovisual projects in 360° format.

OPEN CALL – DEADLINE: 30th of July 2020

All audiovisual artists are invited to submit their project proposals for this year’s program to be implemented online in an unexpected way.

Proposals can only be submitted via the online form.

Contact

Website

Facebook | Vimeo | Instagram

The post PATCHLAB FESTIVAL: Krakow, 23-25 October 2020 appeared first on Audiovisualcity.

About Kusmos Live by Kuflex Lab

Par : Marco Savo

During these tough and uncertain times it has been inspiring to see so many audiovisual artists and events coming up with tools and formats to overcome the quarantine restrictions and social distancing.

A few weeks back the guys from Kuflex Lab reached out to showcase their latest tool that stands out among all the virtual/hybrid solutions we have seen so far. Kusmos Live allows to turn online concerts into interactive digital shows. Pretty neat uh?

Kusmos - Kuflex Lab - Audiovisual Interactive Tool

Let’s dive in and explore how it works. Down to the nitty-nerdy-gritty Kusmos is a custom VJ software written on openFrameworks + VDMX5 + Syphon.

In spring 2020 Kuflex studio began an experimental project Kusmos Live. The purpose of the experiment was to upgrade the Kusmos system in order to create a interactive online home shows.

In 2018-2019 the Russian audiovisual studio experimented with the innovative tool together with SILA SVETA studio on the Therr Maitz concert, Caprices Festival 2018, Nina Kraviz experimental performance at Coachella 2019.

OK, really cool but how exactly does interactivity work? We gave some feedback to Kuflex lab with a few tricky questions to better understand the whole potential of this new audiovisual tool.

KUFLEX: The Tracker program receives depth-sensor data, calibrates a point cloud as we need it (we can rotate the cloud, cut off everything you don’t need keeping only the data of the artist oneself and merge point clouds from two sensors) and sends it to the renderer (UE4 scene).

Scene functions build a 3D model using the data provided by the Tracker and then we can layer all kinds of features with effects on the model and also transform and distort it according to the artistic concept. We also captured video from the laptop’s webcam and sometimes showed its picture. 3D scene acting as the artist surrounding, a set of virtual cameras for capturing from different viewpoints and visual effects were set up in advance in the Unreal Engine. Then the OBS program captures the video of the launched scene and sends it to the video streaming server.

Kusmos Live - audiovisual tool

During our second live experiment we tested some new features for the viewers interactive communication with the stream. While Leksha (Smolensk, Russia) was playing his ambient-set, a VJ (Moscow, Russia) was controlling visual effects with the use of commands via YouTube chat in real-time mode. Our team has implemented this function between the concerts and decided not to tell the viewers about it.

During the stream, noticing weird messages in the chat, some of the viewers started to realize that they could not only send a message to the chat but to even affect visualization. In the end the concert has turned into a digital quest. Some viewers picked up effect control by sending particular commands to the chat. We have yet to comprehend how to develop this function in the future.

 AVC: We think it’s a really interesting and innovative project responding to the challenges of the pandemic. In terms of appeal for VJs there is the risk of potentially being extremely limited for the audiovisual artists creativity, and the aesthetic I guess would always be the same.

It would be key for the tool to have a wider range of possibilities of customization for the artists otherwise they might get tired soon. I guess they all want to leave their unique mark in the scene.

KUFLEX: Kusmos is a universal software tool, with the possibility of variability of visual and interactive solutions. As a rule, our team creates a virtual stage specifically for the performance of the musician. Of course, we want to upgrade the program creating a database with different scenes, effects. In this case, the user will be able to construct the scene himself and combine the effects for his live/stream. 

AVC: It’s a bit unusual to keep promoting the idea of “God is DJ”. Is the DJ persona so relevant the viewer wants to watch during the entire show in a virtual environment?

KUFLEX: Regarding Kusmos Live project, the Kuflex team is collaborating with various musicians. We wanted to support the performers. So this approach determined the emphasis on the figure of the musician on the virtual stage, under whose musical personality, sound we come up with a visual solution. We do not just shoot a video with a musician, as is often done in broadcasts, but create a digital avatar that changes depending on the script, music and VJ control.

At the same time, Kusmos Live is primarily a show, a kind of mix of live performance, a computer game and fantastic movie. The virtual camera can fly through digital space, we can switch to different visual elements of the scene and include additional visual effects to the music.

Kusmos Live - Audiovisual Tool

We try to achieve the effect of real interaction with the viewer as well. Our team is developing a function of interaction through chat – viewers’ comments fall into the scene, they can affect the content through certain chat commands. But Kusmos can be used by artists of other genres. In the near future we want to try to create a dance performance. Now we are discussing this idea with one Russian choreographer.

We will explore the topic of distances – where physical space ends, digital begins, the relationship of body and sound. Both dance and music will take place in live format.

Technically, the performer will find himself in different areas of camera scanning, on the screen we will observe how his digital avatar changes. Again, it will all be like shooting a movie in one shot and in real time!

360 Visual Festival - audiovisual event
AVC: We truly appreciate the viewers becoming active, participating and communicating with the stream. That creates a collective experience. Could people really tell if this was a live performance or not? It feels like the interaction should be more meaningful somehow, with a bigger impact to the overall audiovisual artwork.

KUFLEX: Our team worked on a concert from different cities. We thought about how best to organise remote control of virtual cameras and effects. And suddenly our creative director had an idea to manage content through Youtube chat. During the broadcast, he wrote commands like cam1 (switching camera 1), stars ( the star effect was launched).

We intentionally did not talk about this function in advance to get the quest. As a result, some viewers guessed and began to help in managing the scene. We explore different possibilities about other ways of interaction.

In the future we want to create a client application for connecting to the broadcast via a mobile phone, desktop PC screen or VR. We intend to develop Kusmos as an art tool. Our team believes in a power of collective interaction. We want to give a palette of visual solutions, effects. Let’s all together create beauty here and now! This idea is a sincere inspiration for us. 

AVC:  We would like to know more about how the collaboration you have done with Leksha where the viewers were controlling visual effects with the use of commands via YouTube chat in real-time mode.” How does the input of data modify the visuals? is it like a live coding or common human language and how it is related to the VR software?

kusmos live - kuflex and leksha - audiovisual artists

KUFLEX: Usually in an offline format, we work like this: musicians play music, and VJ manages visual content live using MIDI controllers. Some effects are linked to the amplitude of the sound. But in a situation where we did not have the opportunity to be onsite will all team, we decided to make control through chat commands.

We wrote a special function for our software that receives data from chat on YouTube using the Google API. We came up with several commands, for example: cam1, cam2, skin1, skin2, electric noise, lasers and the like. And when someone in the chat wrote one of these words, then a certain visual effect or a corresponding camera was included in our program.

In general, we have an idea to expand the number of commands and their appearance, so that it looks more like live coding. For example, add numerical arguments to the commands, which will additionally specify the parameters of a particular visual effect.

As for virtual reality, we have plans to create our own application for viewers who can watch live broadcasts using VR devices, thus more deeply immersing themselves in the atmosphere of the digital scene and additionally receive personal effects. 

Kusmos Live - audiovisual tool
 AVC: Fascinating this idea of “universal tool” for content in real time and interactive show. We think it’s important now to dig more into the idea of how it can involve more people in the creative process. It opens new ways of investigation on how to make every audiovisual experience unique, not only in terms of the aesthetics of the piece but also regarding the narrative.

KUFLEX: Yes, this is the main object of research for us. Usually, a limited number of people can come to the offline exhibition. So we want to overcome any space frames. With Kusmos we don’t have any restrictions online! We can find ourselves in amazing digital worlds that are impossible in the physical world.

Now that Kuflex Lab and its creation Kusmos entered our radar we will most definitely keep following their progression, as always supporting innovation and creativity in the audiovisual art world.

The post About Kusmos Live by Kuflex Lab appeared first on Audiovisualcity.

What digital did next: Digital Arts and Social Distancing

Par : Marco Savo



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.


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.

  • Distances Scenocosme Audiovisual Artists
  • Distances Audiovisual Artwork


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.

  • Digital Archive - Audiovisual Artist
  • Digital Archive - Audiovisual Artwork


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.

  • Delight Lab - Museum Valparaiso - Audiovisual Artwork
  • Delight Lab - Museum Valparaiso - Audiovisual Artists


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.

  • MutekSF_Audiovisual_Event
  • Fulldome_Festival_Logo_Audiovisual_Event


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.

  • Medusa Lab - 400 Conejos - Audiovisual Artwork
  • Medusa Lab - 400 Conejos - Audiovisual Artist


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!

  • MID - Pinata Tweets - Audiovisual Artists
  • MID - Pinata Tweets - Audiovisual Artwork



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?BUY US A COFFEE?

The post What digital did next: Digital Arts and Social Distancing appeared first on Audiovisualcity.

RUSHWORKS VDESK Integrated Production System and Streaming Solutions Enable Quick and Easy ‘Shelter-in-Place’ Compliance

RUSHWORKS VDESK Integrated Production System and Streaming Solutions Enable Quick and Easy ‘Shelter-in-Place’ Compliance Municipalities maximize existing systems for optimized remote capabilities via RUSHWORKS’ easily adaptable technologies Flower Mound, TX –  May 18, 2020 – RUSHWORKS, provider of cool technology for production, playback and streaming since 2001, provides remote production systems and streaming solutions to customers ...

The post RUSHWORKS VDESK Integrated Production System and Streaming Solutions Enable Quick and Easy ‘Shelter-in-Place’ Compliance appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

⁣ ⁣⁣ ⁣#repost @ecmstagram⁣ ⁣__________________⁣ ⁣⁣ ⁣EXO/ENDO...




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⁣#repost @ecmstagram⁣
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⁣EXO/ENDO from six years ago. Still one of our favorite projects ever and some of the best music we’ve been able to work with from the amazing @andrelizyoung. Haunting, dark, and brooding just like we like it. We got to encase the entire ensemble in pods of scrim and projection while we went down a tunnel, through the trees, into the fire, and through the ash fall. Exothermic and endothermic reactions of sound and light. #productiondesign #projectiondesign #projection #videodesign #destruction #layers #noise #experimental #doom #metal #music #live #liveperformance #calarts #openframeworks #millumin
https://www.instagram.com/p/CAa-T6SpcQn/?igshid=y3iuy18wa1e4

ADAF 2020 – Call for Entries

Par : Marco Savo

DEADLINE: 1 June 2020

The 16th international festival for digital arts of Greece, Athens Digital Arts Festival (ADAF) is evolving and launching an ONLINE version.

Since the new era is here the international festival for digital arts in Greece, Athens Digital Arts Festival has decided that its 16th edition titled Technotribalism, will also be presented online.

ADAF ONLINE | Technotribalism will take place from the beginning of July till September and will be accessible to everyone through the internet.

Under this framework all audiovisual artists will be able to submit applications till the 1st of June, developing the Technotribalism idea to an online version.

The audiovisual event will host artworks from Video Art, Animation, VR (360 video), Performances, Web Art, Games, Digital Image, talks, workshops, ADAF Kids for Children & their Parents and Festivals of the world that are eligible to be presented digitally.

READ MORE AND APPLY

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Live Motion Capture Hologram / Çelik & Cem Yılmaz

First Real-time Motion Capture Hologram in the World
with Cem Yılmaz

CLIENT: ARÇELİK
VENUE: Zorlu PSM
08.11. 2017

CONTENT PRODUCTION, MODELING, RIGGING, REALTIME RENDERING by ILLUSIONIST

Executive Director : Ahmet GÜRBÜZ
Creative Director: Serdar KORKMAZ
Production Director: Onur KULEN
Art Director: Nila DEDEOĞLU
Sound Design: İbrahim ÖZMEN, Ufuk KEVSER, Cihangir ASLAN
Artistic Director: Çisil OĞUZ
Interactive Designer: Mustafa YILMAZ
CG Artist/Animator: Selçuk KAYA, Kutbettin ECEVİT, Furkan ALABAŞ
Yunus Emre GÜLER, Alican SAYGIN
Film Director: Egemen TOKAT
Film Editor: Öğünç HATİPOĞLU
Videographer: Eray TAŞPINAR

MOTION CAPTURE ARTISTS:
Koray TARHAN
Gürhan ALTUNDASAR
Nebi BİRGİ

MOTION CAPTURE SYSTEMS COLLABORATORS
Ivo Slivkov / TIMEAWARE
Olivier AUBAULT / DYNAMIXYZ

VISUAL SYSTEMS & HOLOGRAPHIC PROJECTION TECHNOLOGY
DISPLAY TEAM
İlker Kerem ÜSTÜNDAĞ

HOLOGRAM FABRIC PROVIDER;
SHOWTEX

SPECIAL THANKS TO
CEM YILMAZ

The post Live Motion Capture Hologram / Çelik & Cem Yılmaz appeared first on Video Mapping Blog.

All-Star Istanbul 2018 / 3 Point Contest Opening Show

Client: ING BANK
Organization: The Sales Machine

Motion Capture Artist / Dancer:
Okan AYDOĞAN

Content Production, Modeling, Rigging, Render & Motion Capture by ILLUSIONIST

Executive Director : Ahmet GÜRBÜZ
Creative Director: Serdar KORKMAZ
Production Director: Onur KULEN
Art Director: Nila DEDEOĞLU
Project Coordinator: Zafer UYGUÇ
Composer & Sound Design: İbrahim ÖZMEN

CG Artist / Animator:
Kutbettin ECEVİT, Furkan ALABAŞ,Yunus Emre GÜLER,
Selçuk KAYA, Alican SAYGIN
Interactive Designer: Mustafa YILMAZ

Film Director: Egemen TOKAT
Filmmaker: Öğünç HATİPOĞLU
Videographer: Eray TAŞPINAR
Film Editor: Özgecan SEZEN

Visual Systems & Projection Technology
Display Team
İlker Kerem ÜSTÜNDAĞ

The post All-Star Istanbul 2018 / 3 Point Contest Opening Show appeared first on Video Mapping Blog.

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