Abies Electronicus 2.0 videoReport

Abies Electronicus 2.0 videoReport:
Finally, here’s the video report of Abies Electronicus,



shot in Brussels, BE, 2012.
technical info for da nerd:

4 Video Projectors 20k @1024*768

each projector was Space Scanned using MadMapper

Custom QC based software

26 LED rgb fixtures

DMX flashlights

DMX control over the existing facades

Lots of custom QC plugins

Running entirely off a single MacPro

Cool Hunting Video Presents: The Planetarium Projector Museum: A gaze inside the world's largest collection of planetarium projectors

Cool Hunting Video Presents: The Planetarium Projector Museum: A gaze inside the world's largest collection of planetarium projectors:




There are many beautiful things to see on the drive into Big Bear Lake, CA but one of the more interesting and unknown is the Planetarium Projector Museum.

Cool Hunting Video Presents: The Planetarium Projector Museum from Cool Hunting on Vimeo.

Nature-Graphique gets triangle fever

Nature-Graphique gets triangle fever:re-blog from Madmapper

The collective cook up an immersive, triangle filled, mapping extravaganza for Scopitone Festival 2012 in Nantes, France. Extra interesting are the brief screenshots of the planning phases. I also spy an interesting layout of what appears to be a Lemur for iPad layout that possesses a highly ergonomic, function oriented layout. In a brief communication with Orl, he notes that the iPad was used to control the multiple computers that were part of setup:
- 2 Mac Pros

- 4 Matrox TripleHead2go

- 12 projectors
Oddly enough, my first impression of this video was that the lighting setup somewhat complimented the structures, given that for the main stage the lamps were considerately positioned at each of the line segments of the triangles. However Orl states that they had little control over and that there was too much light.
Unfortunately this is still a very common problem. I have seen productions that could have been immensely improved by a tasteful and relatively simple balancing and placement of lighting. It always appears to me that lighting is somehow arranged in a sort of battle formation that disregards any kind of overall stage composition. This type of scenario usually emerges when the producers of the event are primarily concerned with getting the job done without much of a fuss.
While the technology at our disposal is getting better, with more integration between video and lighting, such as the upcoming release of MadMapper with its MadLight feature, we will likely always have to set our own standards and convince others in order to achieve our visions.

Robotic Mapping Pulls a Model Building, Tron-Like, Into the Virtual

re-blog from Create Digital Motion



Robotic Mapping Pulls a Model Building, Tron-Like, Into the Virtual:
MPS – Building Presentation from White Kanga on Vimeo.
A model building rotates, light spilling over it. A virtualized sun creates shadows and accelerated days. And then, halfway through, the building still gliding in circles, it’s as though you can see through the building to wireframes beneath.
The latest illusions from the White Kanga crew aren’t simply mapping as a novel way of making projection look three-dimensional. They appear to alter the reality around the object itself, playing with our perception’s ability to see animation as something fluid and real.
Or, to put it another way: moving the subject, not just the projection, has a remarkable amount of potential for mapping illusory effect. See, previously:

Projection Mapping, with Robotics, Goes Further to Augmenting Reality: MPS Demo [TouchDesigner]

Mapping, in Motion: Projection Meets Stepper Motor for Rotating Fun [vvvv+Arduino]
Toolset: TouchDesigner, custom software, control, and robotics.
Derivative, makers of TouchDesigner, interviewed this crew:

White Kanga, a talented crew from Poland have expertly been building their own custom applications with TouchDesigner to produce something remarkably new, integrating mapping, robotics and extended reality. A revealing interview with the team details their experience working with TouchDesigner from a seasoned VFX background (Houdini pros) and the making of the Modeling Projection System (MPS) project.

Love the headline: What WHITE KANGA is building with TOUCHDESIGNER to alter our sense of REALITY

Pop-Up Video: Tesla, Synesthetic Hallucination, and Augmented Book Science

Pop-Up Video: Tesla, Synesthetic Hallucination, and Augmented Book Science:

Nikola Tesla in Sound and Light from Marco Tempest on Vimeo.


Nikola Tesla in Sound and Light from Marco Tempest on Vimeo.
Digitally-enhanced magician Marco Tempest is back, here with a poignant message about the magic of science – the leaps of faith, and leaps of showmanship, required to turn scientific imagination into reality. Any opportunity to celebrate genius scientist Nikola Tesla, unjustly unsung relative to his extraordinary accomplishments in electricity and thinking, is a good one. Here, too, we find a behind-the-scenes look at how carefully-calibrated projection mapping brings a pop-up book to life. Some of those close-ups in the video at top are unforgiving (it’d work perfectly in a theatrical setting). But the integration of the book, Marco Tempest’s sleight of hand, and digital animation can be spellbinding.
And because Mr. Tempest is of the mind that being more open makes the magic more effective, not less – a bit like science itself – he shares all the how-to details.


Making of "Nikola Tesla in Sound and Light" from Marco Tempest on Vimeo.


Making of “Nikola Tesla in Sound and Light” from Marco Tempest on Vimeo.
Full details, plus the TED version:

Created and Produced by Marco Tempest

Script: David Britland

Art Direction: Kevin Blanc

Motion Design: Alain Renold

Pop-up Design: Peter Dahmen

Music and sound design: Michael Ricar

Custom software development: Enrico Viola

Arduino Tech Wizard: Manuel Rueda Iragorri

Pre-visualization and production mascot: Signe Fleischmann

additional still photography:

Carmen Kam

(Bonus points to anyone who knows to what my headline refers. Or, at least, you’ve established you’re my age.)

Projection Mapping, The Documentary: A Short Film Profiles the Technique’s Significance

Projection Mapping, The Documentary: A Short Film Profiles the Technique’s Significance:




Once a novel technique, the likes of which could land you a gig, projection mapping is fast evolving into a fundamental skill every visual artist must have. It’s the ability to work not only with your content, but to be creative with its delivery, almost as much as something as basic as an alpha blend or a crossfade. It separates the visualists who work within rectangles and those who don’t.
As a semi-daily chronicle, this site often provides specific stories about one project or another. In the short film “Augmented Reality,” by Belgian filmmaker Dane Luttik, the camera pulls back to a big-picture overview of what the technique is about.
It’s perfect for introducing those new to the idea. But even if you’re skeptical about such things or tired of lots of projection mapping – indeed, especially if you fit under that header – it offers insight.
I’ll excerpt one quote from Ilan Katin, though, that I think is best of them all:

“To do it right … you need to have an idea.”
The artists are ANTIVJ and Jean-Michel Verbeeck. From the video notes:

Mapping projects by AntiVJ

0.14 3Destruct (AntiVJ 2011)

1.16 Nuits sonores (AntiVJ 2009)

1.20 Mécaniques Discursives (Legoman 2012)

1.22 St Gervais (AntiVJ 2010)

5.45 EYJAFJALLAJÖKULL (Joanie Lemercier – AntiVJ 2012)

6.48 Enghien (AntiVJ – 2009)

more info: antivj.com/

//

Mapping projects by Jean-Michel Verbeeck

1.29 Hexastruct

2.43 Quantum

//

MUSIC BY NOSAJ THING

Projection Mapping, with Robotics, Goes Further to Augmenting Reality: MPS Demo [TouchDesigner]

Projection Mapping, with Robotics, Goes Further to Augmenting Reality: MPS Demo [TouchDesigner]:re-blog from CreateDigitalMotion



Okay, great: you can project on facades and surfaces in ways that makes the image tailor-mapped to the surface. What else can you do?
Rafal Bielski and a small team from Poland provide a glimpse of a more awesome, more futuristic future. Here, projection mapping isn’t content with a still, static surface, like a building. The surface and the projection can both move, aided by robotic servos. As that image tracks the object, the combined project comes further to the dream of transforming the physical reality around us with digital visuals.
How cool is this? Well, for starters, that video above is not something done in post. It’s not a special effect. It’s live, real-time projection you’re watching – really. (No one hiding behind the curtain, either.)
Rafal explains that the result is “a combination of interactive real-time 3D projection, robotics and augmented reality.”:

MPS is the realization of an idea of pushing projection mapping one step forward, making it even more spectacular and involving. In short, we have synchronized rotation of stepped motor engine with “geometric” projection with respect to the position of the viewer. This is the moment where we get the spectator to “believe” that this is a metallic, weird box rotating in a front of the window of the skyscraper. It was shocking to me when I made a very first panel to show our friends that Vimeo flick. Most of them — like 80% — thought it was all post-production, a 3d animation (the industry three of us have come from) and Arek Rekita is just keyed-in there. So imagine the

sensation when you are actually standing in front of it. Its physical form there is real, and I think you can sense those qualities even through the computer’s screen.
The ability to visually influence human beings is weakening. We are getting more and more resistant to that form of communication. (When was the last time you heard heard that a movie had “good CG FC, really, go see it”?) In the film industry, I hope we are getting back to the era of a good script over spectacular effects, but in advertising, there is a whole new world coming in. I could rant about it for hours, so lets get back to MPS. The upper projection surface part is a 50 kg vinyl polymer structure, reaching 3.5 m in height. The base is a custom-made device from certified components, mainly stepper motor connected and controlled via Arduino.
The PC has twin GeForce cards driving three projectors – Benq W1100 and wide-lens Mitsubishi 230u-st. That worked well, but the system also worked with Christie Roadster monsters not in this video. Of course, we went for Derivative TouchDesigner as our interactive visual programming environment. It was a spectacular

learning process, adapting third-party libraries, synchronizing devices, and writing tools to quicken calibration processes. Yeah, we developed our own calibration software: it’s a semi-automatic little tool with live quality. We are going to introduce it on our Facebook profile soon. Stay tuned.

More is coming, too. Rafal tells CDM, “in the near future, we will presents our in-house software for semiautomatic projector/3d calibration and others.” Yes. We’ll look forward to that.
Consider yourself teased.

MPS project.

Realtime projection+servo+augmented reality.

Rafal Bielski : Programming, CG

Arek Rekita: Programming, Devices

Rafal Osmolski: Support

White Kanga is based in Warsaw.

In Translucent Glass Grids, Nature’s Patterns, Revealed

In Translucent Glass Grids, Nature’s Patterns, Revealed:re-blog from CreateDigitalMotion



Up close, nature’s patterns represent nothing so much as elegant geometry, or even, perhaps, pixels. Rendered as an translucent array, organic patterns become a dance of digital pixels in a work in North Carolina. The creators describe it nicely, so it’s best to reflect on their description – and recall that nature can be an endless source of inspiration.
There’s an extra revelation here, too: low-power displays could be the future. And that’s excellent news for nature.

Patterned by Nature was commissioned by the North Carolina Museum of Natural Sciences for the newly-built Nature Research Center in Raleigh, North Carolina. The exhibit celebrates our abstraction of nature’s infinite complexity into patterns through the scientific process, and through our perceptions. It brings to light the similarity of patterns in our universe, across all scales of space and time.

10 feet wide and 90 feet in length, this sculptural ribbon winds through the five story atrium of the museum and is made of 3600 tiles of LCD glass. It runs on roughly 75 watts, less power than a laptop computer. Animations are created by independently varying the transparency of each piece of glass.

The content cycles through twenty programs, ranging from clouds to rain drops to colonies of bacteria to flocking birds to geese to cuttlefish skin to pulsating black holes. The animations were created through a combination of algorithmic software modeling of natural phenomena and compositing of actual footage.

An eight channel soundtrack accompanies the animations on the ribbon, giving visitors clues to the identity of the pixelated movements. In addition, two screens show high resolution imagery and text revealing the content on the ribbon at any moment.

Patterned by Nature was created by

Plebian Design – plebiandesign.com

Hypersonic Design & Engineering – hypersoniced.com

and

Sosolimited – sosolimited.com

High Speed Photobooth: Participatory, Poetic Slow-Motion

High Speed Photobooth: Participatory, Poetic Slow-Motion:


Stretch out three seconds into 3,000 frames: even in our world of digital and photographic wonders, the simple ability of photography and motion to manipulate time remains magical. The lowly photobooth can still delight. Having seen Pablo Garcia’s machines earlier this week, I wanted to follow up with his “High Speed Photobooth,” which combines high-speed photography with YouTube sharing for a modern take on the photobooth that makes the participant into the special effect.




It’s a reminder of what the role of photography can be in visual interaction and performance.
More detail:

An update to the familiar self-operated photo booth, this booth shoots a brief 3-second video at 1000 frames per second. Once captured, integrated software stretches the video to nearly one minute, slowing quick action to reveal normally imperceptible movements. The video is automatically uploaded to the Arts Festival YouTube channel, collecting together all the 3-second experiments the public performed throughout the festival.
Team:

Booth Design: Pablo Garcia and Spike Wolff

Software/Hardware Design: Riley Harmon and Dan Wilcox

Booth Construction: Kyle Rood

Camera Provided by: Matt Kearney of Fastec Imaging

Lighting Provided by: Gil Penderly of Visual Instrumentation Corp
Support by

The Jill Watson Family Foundation

Studio for Creative Inquiry [Carnegie Mellon University, Pittsburgh]

A view of the complete installation and rig:








Video from the festival: http://www.youtube.com/user/watsonfestival
More:

http://www.pablogarcia.org/projects/hi-speed-photobooth-new/

http://www.pablogarcia.org/

Mapping AV to Architecture, a Touchscreen Project Puts Participants in Control in Chicago [Video]

Mapping AV to Architecture, a Touchscreen Project Puts Participants in Control in Chicago [Video]:



   


Mapping projections to architecture, and connecting music to visual metaphors are nothing new. But many of these projects leave the control to performers; audience members simply stand back and watch. In a project for HP promoting their TouchSmart PCs, interactive artists ceded that control to participants. Instead of the computers being in the hands of the performers, they’re touchable by anyone, for an open, collaborative experience of the work.
The project makes use of a number of ingredients. The HP TouchSmart PC provides a big, touchable display, much larger (though less mobile) than a tablet like the iPad. On the software side, custom interfaces for the participants manipulate sound and visuals built in not one but two visual programming languages: Max/MSP and (Windows-only) TouchDesigner.

The project is the work of two firms, Waveplant and Leviathan. Joel Corelitz writes from the Waveplant side to share the work with CDM readers:

My company (Waveplant) collaborated with Leviathan to create an OSC-controlled projection mapping installation for HP to promote their TouchSmart line of PCs. Participants controlled the sound and visuals via the PCs with custom-created OSC interfaces (in TouchDesigner). Max/MSP was used to drive the audio and the visuals.
I was responsible for all the audio creation as well as the Max/MSP programming, and Leviathan created the visuals and handled the projection mapping.
Just to reiterate – Leviathan is the company that’s responsible (amongst many other things) for the visual component of Amon Tobin’s ISAM tour. My company / personal brand Waveplant was responsible for all the audio in this project as well as the maxMSP programmed back-end that was responsible for the live audio interactivity. Leviathan designed interfaces in Touch Designer that transmit information to Max/MSP. Max/MSP would respond with audio in various ways while sending OSC information back to those interfaces and touch designer which reflected those musical changes visually.
As an artist, I’m really excited about these kinds of marketing efforts. They’re incredible opportunities to push creative boundaries and subvert the more “linear” forms of advertising that we’re used to. What’s also really unique about them is the way they let the art stand on its own while at the same time involving the product in a hands-on (literally) capacity.

Here’s an extended documentary of the project, with requisite shots of Chicago’s famous L train. (For some of you, that should cause a Pavlovian hunger for deep dish pizza.)



More information:

http://www.waveplantstudios.com/HP-Play-Big

http://www.waveplantstudios.com/HP-Hear-There-Everywhere
Agency for this project:

designkitchen

Antilop: Coca-Cola’s 125th Anniversary Exhibition’s Future Room

Antilop: Coca-Cola’s 125th Anniversary Exhibition’s Future Room:

Istanbul creative agency Antilop created this audio-visual and interactive installation for Coca-Cola’s 125th Anniversary Exhibition’s Future Room concept for Turkish modern-art museum santralistanbul.

Plays of Shadow and Light, into Digital Topography: New ANTIVJ Work

Plays of Shadow and Light, into Digital Topography: New ANTIVJ Work:re-blog from Create Digital Motion

French-born, Bristol UK-based artist Joanie Lermercier is one of the names most associated with projection mapping. But in a new video, the artist – who goes by the name ANTIVJ, which doubles as his audiovisual label – expresses just how he conceives these tricks of perception, as plays of shadow and light.

The work itself is beautifully documented here, interspersed with its surroundings, as an installation and (for Joanie) artist residency at Troy, New York’s EMPAC, not far upstate from New York City.

It’s not just an escape from the rectangle that motivates ANTIVJ’s work. The specific application of calculated (and sometimes exaggerated) illusion, and the awareness of those illusions, recalls the trompe-l’œil technique that saw its peak in Baroque and Roccoco art. And it’s movng to me to hear Joanie speak about the sensation that surrounds that technique; somehow, I’ve always found French artists and perhaps even the French language most articulate in appreciating ephemeral sensations in expression. (I certainly have found that in playing French music, so I at least have that personal connection, if imagined or otherwise.)

It’s beautiful work. And at the same time, I find it encouraging that you could close your eyes, listen to Joanie’s conceptual notions, and create something entirely different. This could well be a deep well of thinking about digital projection, in which three-dimensional illusion is far from novelty. Centuries of art certainly suggest as much – and this new digital work demonstrates that aesthetic can be independent from illusion.

Details of the video:

EYJAFJALLAJÖKULL

an installation by Joanie Lemercier

twitter.com/#!/JoanieLemercier

——————————————–

a video by Jérome Monnot (cargocollective.com/jeromemonnot) and Vania Jaikin Miyazaki

Produced by Elefant Films

VISUALS: Joanie Lemercier

Additional visuals: Simon Geilfus

MUSIC: Monolake – Oomoo

PRODUCTION: Nicolas Boritch

Music used in the video report:

- Caribou – Children Play Well Together

- Nicolas Jaar – Wouh

Projects featured from 1:22 are all documented on antivj.com

——————————————–

twitter.com/#!/AntiVJ

antivj.com/empac/

And more description:

Audiovisual installation by Joanie Lemercier

Painting, layer of projected light

Inspired by the icelandic volcano, which wreaked travel havoc across europe earlier this year,

Joanie Lemercier presents the latest incarnation of its audiovisual mapping project

Painted directly onto a large wall, a wireframed scenery is slowly revealed by gentle light effects.

The audience’s sense are progressively challenged as optical illusions question their perception of space.

Projection Mapping Meets Turntablism: Serato DJing and Live Visual Feedback

Projection Mapping Meets Turntablism: Serato DJing and Live Visual Feedback:re-blog from Create Digital Motion

Projection Mapping Onto Turntables from E.N.S. on Vimeo.

Rooted in pre-digital tradition, the turntables and mixer here get a different kind of digital upgrade: sound-responsive visuals transform the decks.

Built by Austin, Texas-based student Mark Morris, artist E.N.S., and collaborators, this work in progress demonstrates what happens if you point the projector directly at the DJ’s rig. Cleverly, they map the platters themselves as they rotate, as well as add interface elements from the DJ software and responsive audio waveforms. From Mark:

This is a projection mapping project we’ve been working on for about a month as of uploading.

It’s a user interface for Serato Scratch Live that is vinyl rotation-reactive, as well as sound-reactive, and makes it possible to mix using Serato without having to look at your computer screen whatsoever. We have real-time waveforms streaming across our mixers, or our vinyl platters, and we have started to incorporate video effects that are controlled by [Nintendo] Wii remotes. We are also working on controlling effects with motion capturing using a camera.

Much more to come!

The Song from the video was made by one of the creators of all the cool stuff you saw in the video: Mark Morris

Music from E.N.S. is available on Facebook.

Thanks to Francis Preve (Academik Records, Keyboard Magazine), who’s fortunate to have Mark as a student and points this our way.

We’ll have more as they get further along, but this is already looking great.

Update – via comments, here’s another instance of projection mapping onto decks, by MrGeeBee, a Luzern, Switzerland-based developer moonlighting as DJ. I wouldn’t be surprised if there are other examples, as well. Heck, I hope there are – go make more, folks.

A Virtual Tiger Stalks Paris, Projection Mapping from a Car; Similar Earlier Work

A Virtual Tiger Stalks Paris, Projection Mapping from a Car; Similar Earlier Work:

Golden Tiger from le3paris on Vimeo.

Here’s guerrilla projection taken to a whole new level: hitting the pavement, doing it from a moving object. Hit the road, jack.

The result: a digital tiger that appears to “run” across the surfaces of Parisian buildings. A reader tells us:

We have seen a tiger on Vimeo projected and prowling around the streets of Paris.

We found out that the french creative studio Le3 has been terrorizing Paris in recent days with its latest art installation, called the “Golden Tiger.” The team is projecting recorded footages of a running tiger onto the streets of Paris from a moving vehicle. The apparent running speed of the beast is controlled by the speed of car, via sensors in its wheels.

It goes to show that street mapping have clearly moved forward.

Moving forward, indeed. And it makes you wonder what other mobile projection ideas might be lurking in the veldt.

More information:

le3paris.com

Credits:

Street Mapping in Paris

from an original idea by

Mehmet AYDOGDU

Julien NONNON

Romain VOLLET

with the participation of

Laurent LE GOFF

Donatien DE LAVENNE

Music by THE AGENCY ‘Watching Us’

(F. Blet / R. Trotel / Y. Mayoux)

Published by Industry of Cool

From the album ‘SOMNOGRAPHE’ © 2011

Tiger in your Tank? [Updated] Unfortunately, it seems this work – has already been done. While unintentional coincidence is certainly easy enough in this field, here it appears the work above was without attribution based on an earlier work. Drawing from earlier ideas is a good thing, but doing it directly and without attribution would tend to be plagiarism. I will investigate to see if there’s something we don’t know here.

http://www.gravitytrap.com/artwork/wildlife [by Karolina Sobecka - and really quite lovely work, too - thanks to arctic sunrise in comments and a discussion thread on creative applications]

Total Immersion: Projection Mapping + Tracking for PS3 Shots, Like Pure Magic

Total Immersion: Projection Mapping + Tracking for PS3 Shots, Like Pure Magic:re-blog from Create Digital Motion


We’re living in an age of the Neo-Baroque/Neo-Rococo, in which technique creates marvelous illusions, when technique and thought can create dazzling effects. And as the technology matures, that work begins to evolve genuine playfulness. It’s not enough to see the novelty: that novelty is now conveyed through real wit.

At least, I feel fuzzy, optimistic thoughts like that when I look at work like a series of spots for the Sony PS3. Friend-of-the-site Memo Atken is involved, alongside FND and Flat-e, with the wonder, mixing real-time projection mapping with head tracking and camera tracking (both at once) for a sort of live match-moving-like effect.

But… well, just watch. I hope we’ll get to talk to Memo, Flat-e, and FND soon. Credits and a teaser description of how it was done below.

And consider this: the combination of sensing with projection is to live digital visuals what a technique like perspective was to painting centuries ago. It’s a calculated illusion, but it could be the basis for an entire body of work, both a marvel in itself and a springboard to new art.





Credits:

Realtime projection mapping for Sony PS3 Video Store.

Agency: Studio Output

Directors: Robin McNicholas (Flat-e), Barney Steel (FND), Memo Akten (MSA)

Cameraman / AR: Thomas English

Music: Finn McNicholas/Si Begg

Client: Sony PS3 Video Store

Production Company: Marshmallow Laser Feast (MLF)

Sony PS3 Video Store Realtime Projection Mapping [flat-e]

Memo writes:

For the launch of the Sony PlayStation Video Store, our job was to bring a living room alive with hints at various hollywood blockbuster franchises – so we decided to push projection mapping to a new level. We projection mapped a living room space with camera (or head) tracking and dynamic perspective. All content realtime 3D, camera (or head) is tracked to match and update the 3D perspective in realtime to the viewers point of view. Add to this real props, live puppetry, interaction between the virtual and physical worlds, a little bit of pyrotechnics and a lot of late nights. I can tell you, physically walking around in that space really messes with your head, e.g. when the floor drops you reach out to grab onto something!.

Dynamic projection mapping with camera / head tracking – Sony PlayStation Video Store [memo.tv]





Thanks, Steve Nalepa and David Lublin.

A Museum’s Faceless Cube, Transformed: Mapping in Austria

A Museum’s Faceless Cube, Transformed: Mapping in Austria:

MQ10 | Architectural staging from urbanscreen on Vimeo.



Speaking of projection mapping (again), Jonas sends a project he worked on that’s a spectacular example, one that seems to make a faceless box of a museum extrude fragments from its side and gain new depth. Description:

An audiovisual staging of the Leopold Museum’s architecture during the 10th anniversary of the MuseumsQuartier in Vienna, Austria.

Premiered on 30th of July in 2011.

Art Direction: Daniel Rossa (rossarossa.de), Till Botterweck

Technical Director: Till Botterweck

3D Operator: Peter Pflug

Sound Design: Jonas Wiese

Documentation Director: Thorsten Bauer

Camera: Thorsten Bauer, Moritz Horn, Oktocam Vienna (audiovisuellemedien.at)

Edit: Jonas Wiese

Commissioned by: Soundframe Festival (soundframe.at)

Realized with Wings VIOSO Mediaserver (vioso.com)

An URBANSCREEN.com production

Epic Space Invader Audiovisual Installation, a Profile in MadMapping

Epic Space Invader Audiovisual Installation, a Profile in MadMapping:re-blog from Create Digital Motion

- AV INVADER - 8 bits and light - Optikal Ink Lab. from Optikal Ink Lab on Vimeo.


The MadMapper blog this week looks at a brilliant Space Invader-themed project from this Bogota, Colombia-based artist:

One of my favorite and iconic projects done with MadMapper to date is the Space Invader project directed by the Bogota based A/V Director and VJ, Laura Ramirez Leal l (aka Optika VJ). The simple concept of the classic icon of a Space Invader reproduced on a grand scale screams fun for the eyes.

The technical specifications of the Invader:

- 2 x 20K Christie projectors stacked

- Modul8 and Madmapper

- 20 mts wide – 14 mts high and 6 mts deep in scaffolding covered with material

- Public : 90.000 people

Full interview below; wanted to get this up there, but if you’d like more on Laura’s work and process, let us know your questions and we’ll talk to her soon!

In the meantime, tons of details:

MadMapper Powers [an] 8-bit Invader

Photos courtesy GarageCube.

Plastikman Visuals, Condensed to 60 Seconds

Plastikman Visuals, Condensed to 60 Seconds:re-blog from Create Digital Motion


Pacing live visuals over the course of a performance can be a key to its success, so it makes this 60-second timelapse of the Plastikman (Richie Hawtin) show all the more compelling to watch. You have a sense in this condensed version of how color and imagery are mapped to the flow of the performance, and the amount of constraint required to make that consistent. (Style differs – I’ve seen plenty of visual performers get more hectic than this in 60 real-time seconds. It works for some, not as much for others.)

Ali Demirel & Jarrett Smith of Canada-based Derivative Inc., using Derivative’s TouchDesigner application, designed the visuals in the show.

I would say more, but then it might take you longer to read this post than to watch the vi

(buzz!)

http://plastikman.com/

http://www.derivative.ca/Plastikman/

http://www.derivative.ca/plastikman/Tech/

Music Band, Animated: Wondrous Projection Mapping Makes Instruments Canvas

Music Band, Animated: Wondrous Projection Mapping Makes Instruments Canvas:re-blog from Create Digital Motion

Instrument Mapping from Chris Staring on Vimeo.

Beyond the immediate, and fleeting, novelty of seeing images fitted perfectly to three-dimensional objects, you need something to actually watch. Here, new work from Melbourne-based artist Chris Staring is splendidly fanciful: a band of assembled musical instruments is immersed in animation, a bit like walking into Toontown in Roger Rabbit. In fact, speaking of Disney, the abstract musical animations that erupt are reminiscent of the jazzy modern concoctions of mid-Century animators, imagining for the first time how you might put music into motion.

One reason the results look so good: these are instruments constructed to be a canvas, each built and painted entirely in white.

Lots more info (watch those links; their server is acting a bit funky – but hopefully you can get through for some nice images of the work in progress):

Instrument Mapping is an experimental projection mapping project developed by Skare Media. The project incorporates musical instruments as the projection surface for a series of animations.

Music:

00:00 to 03:32 – edit;erase: soundcloud.com/​editerase

03:33 to 06:30 – Maartez: humanworkshop.com

I have used a combination of Projection Mapping, 3D animation, 2D animation, And particle effects to create the visuals.

The programs used:

* After Effects

* Photoshop

* Illustrator

* Cinema 4D

* Particle Illusion

* Ableton Live (to merge music tracks and added sound elements)

This movie was filmed using my Canon 60D.

Visit the Instrument Mapping minisite at: instrumentmapping.skaremedia.com/​index.html

Visit the Instrument Mapping production page at: skaremedia.com/​instrumentmappingproduction

Visit the Skare Media Homepage at: skaremedia.com

Yarn, in Motion: Projection and Virtuality, Crocheted and Electronic, by Olek and Dev Harlan

Yarn, in Motion: Projection and Virtuality, Crocheted and Electronic, by Olek and Dev Harlan:re-blog from Create Digital Motion

"Suffolk Deluxe Electric Bicycle, 1" Olek & Dev Harlan from Dev Harlan on Vimeo.

Electronic aesthetics have been deeply rooted in live visuals, but that’s even greater reason to explore materiality. Dev Harlan, a New York-based artist working in sculpture, light, and projection, has built a collaboration with the now-legendary Polish-born, New York-crocheting Olek (aka Agata Oleksiak).

Olek’s work has included what might best be described as crochet interventions. Whether in a gallery setting or working with the city streets and objects as her canvas, she wraps people and things in crochet. The work has become a ubiquitous part of life here in New York; on the way down Wall Street yesterday, I was greeted by two performers wrapped in full crochet bodysuits with their hand through a canvas, shaking hands with passersby. (Most of the Wall Street tourists and workers ignored them; I found, on a difficult day, the gesture of shaking their hand to be transformative.)

Dev Harlan faces the tantalizing challenge of translating this fiber virtuality into digital transformations, rather than only crocheted ones. What’s nice about the approach is that Dev’s work combines Olek’s crochet process, captured in stop-motion, with fanciful all-synthetic imagery. Dev’s own penchant for bright colors and patterns is the perfect electronic match to the charged, magically-cheery patterns in Olek’s artwork. A five-minute DVD of “artifacts” from the collaboration is available in a limited run, covered, naturally, in a crocheted sleeve.

Projection mapping, aside from being a practical solution, envelopes objects in much the way Olek’s all-covering crochet installations and suits do. In fact, it seems to me just as appropriate to include here solo work by Dev Harlan: “Star Geode I,” for the New Museum’s Nuit Blanche in May, has much of the same feel to me as the crochet works.



Dev Harlan, "Star Geode I" from Dev Harlan on Vimeo.



"Any Colour You Like" (Pyramid III) from Dev Harlan on Vimeo.


See also wonderful uses of color and pattern in the Pyramid series of the last couple of years, which has been shown in the Christopher Henry Gallery in NYC’s SoHo.


More on Dev Harlan:

http://devharlan.com/

Deluxe Bicycle Video Artifacts (Editioned DVD)

http://vimeo.com/devharlan

And while it’s not strictly relevant to Create Digital Motion, I find the spirit of Olek’s work to be inspiring, in terms of how it relates to the world. A documentary video is in the works, funded by Kickstarter:


Olek’s work:

http://agataolek.com/home.html