TNT Belgium: A Dramatic Surprise on a Quiet Square:
The viral marketing clip of the day features a good dose of storytelling, breaking down television tropes into interchangeable jigsaw puzzle pieces. There’s a hot chick on a bike, some slapstick, a gunfight – the only thing missing is a helicopter touching down.
With the popularity of Improv Everywhere and theatrical productions like Sleep No More, this sort of promotion fits right in with the popularity of the consumer wanting to be in the middle of something special. You’ve just got to make sure you don’t stray too far into Theme Park Stunt Spectacular territory (though, I admit I probably watched the Universal Studios Miami Vice show over thirty times as a kid).
Please send credits if you have.
Wednesday, April 11, 2012
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:
Video from the festival: http://www.youtube.com/user/watsonfestival
More:
http://www.pablogarcia.org/projects/hi-speed-photobooth-new/
http://www.pablogarcia.org/
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.A view of the complete installation and rig:
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]
Video from the festival: http://www.youtube.com/user/watsonfestival
More:
http://www.pablogarcia.org/projects/hi-speed-photobooth-new/
http://www.pablogarcia.org/
Tuesday, April 10, 2012
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:
More information:
http://www.waveplantstudios.com/HP-Play-Big
http://www.waveplantstudios.com/HP-Hear-There-Everywhere
Agency for this project:
designkitchen
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.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.)
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.
More information:
http://www.waveplantstudios.com/HP-Play-Big
http://www.waveplantstudios.com/HP-Hear-There-Everywhere
Agency for this project:
designkitchen
Monday, March 12, 2012
Andrew Thomas Huang: Solipsist
Andrew Thomas Huang: Solipsist:
SOLIPSIST from Andrew Huang on Vimeo.
You loved the trailer. Now you can enjoy it online in full. Winner at Slamdance 2012 of the Special Jury Prize for Experimental Short, Solipsist by Andrew Thomas Huang. For more about the film and balancing personal projects with commercial work, listen to his interview over at Directors Notes.
Hat tip to Short of the Week and Yves Geleyn.
Quayola and Memo Akten for the London 2012 Cultural Olympiad
Quayola and Memo Akten for the London 2012 Cultural Olympiad:
Nexus Interactive Arts has worked with Quayola and Memo Akten on Forms for the London 2012 Cultural Olympiad, which is part of the larger countdown to the Olympics. The piece uses archival footage of athletes from the National Media Museum as a seed for a series of abstract animations. An on-site installation also allows visitors to explore the individual layers that comprise each segment.
Nexus Interactive Arts has worked with Quayola and Memo Akten on Forms for the London 2012 Cultural Olympiad, which is part of the larger countdown to the Olympics. The piece uses archival footage of athletes from the National Media Museum as a seed for a series of abstract animations. An on-site installation also allows visitors to explore the individual layers that comprise each segment.
Oscar Lhermitte: Experiments
Oscar Lhermitte: Experiments:
Check out Oscar Lhermitte’s experiments on vimeo: Seeing in Circles and Revolve.
Posted on Motionographer
Check out Oscar Lhermitte’s experiments on vimeo: Seeing in Circles and Revolve.
Posted on Motionographer
Tuesday, March 6, 2012
New Music Tech Web Show Takes on VJing, Audiovisual Turntablism
New Music Tech Web Show Takes on VJing, Audiovisual Turntablism:
How do you expose live visual culture to larger audiences? Even as club visuals have become more commonplace, and – evidently – some US$10 million in gear sold last year, the awareness of the medium itself is both limited and, very often, contentious.
Producer and CDM reader Yaniv Fituci sends along one new entry, a show that will look at the meeting place of music and technology. (Hmm… I think I’ve been to that intersection.)
Hosted by G4 celeb Kevin Pereira, the production style definitely isn’t subtle. There appear to be leather-bound ladies around, for one. (If I produced a show in Berlin, leather and bare skin, yes. Ladies – maybe not so much.) And Kevin Pereira seems to be caught in a combination of a motion graphic for Monday Night Football and Lawnmower Man. (“Are you ready for some virtual reality?” Speaking of which, best IMDB tagline ever: “A simple man is turned into a genius through the application of computer science.” Hell, yes!) Can’t someone license the rights to Max Headroom, already?
The format, though, sounds intriguing. The show is done battle-style, judged on Twitter.
And once you get through the title graphics, Mike Relm shows off some video turntablism while doing a pretty nice, concise explanation of the modern live visual set’s evolution. I would have liked to hear some artist names mentioned — Emergency Broadcast Network and Coldcut introduced a lot of the video cut-up and remix techniques you see, and Coldcut the ground-breaking VJAMM software (which itself does get a mention). But it could reach some new audiences, and I’m curious to see how this VJ death match happens.
It’s all definitely focused on club visuals and audiovisual turntable sets, which in a way reveals how big the gulf is between this and the growing practice in generative visuals, projection mapping, and synthesis (even including a resurgence of analog video synthesis).
All of that said, it’s great to see this team take on the topic. More coverage can only be a good thing.
So, if this is a VJ and music tech program for the G4 set, what would you want as Create Digital Motion readers? I think we probably bought ten million dollars in cables last year, at least. (We’ve probably collectively bought $10 mil in those little Apple video dongles, as a community.)
http://entertheplaylist.com/ [Ah, remember those innocent days in the 90s when we all used VJAMM and ArKaos, and there was only one Matrix movie?]
Below, videos with ScreenWerks, Eclectic Method. And Yaniv tells us the next epi will feature controllerism “and bout Ean Golden vs Moldover in a 3-round controllerist battle.”
Bonus: Since my locality is set to Germany, IMDB tells me that, in German, Lawnmower Man is, naturally, “Der Rasenmähermann.” Oh, yes. Now I know what my hardcore deathtronic artist name will be.
How do you expose live visual culture to larger audiences? Even as club visuals have become more commonplace, and – evidently – some US$10 million in gear sold last year, the awareness of the medium itself is both limited and, very often, contentious.
Producer and CDM reader Yaniv Fituci sends along one new entry, a show that will look at the meeting place of music and technology. (Hmm… I think I’ve been to that intersection.)
Hosted by G4 celeb Kevin Pereira, the production style definitely isn’t subtle. There appear to be leather-bound ladies around, for one. (If I produced a show in Berlin, leather and bare skin, yes. Ladies – maybe not so much.) And Kevin Pereira seems to be caught in a combination of a motion graphic for Monday Night Football and Lawnmower Man. (“Are you ready for some virtual reality?” Speaking of which, best IMDB tagline ever: “A simple man is turned into a genius through the application of computer science.” Hell, yes!) Can’t someone license the rights to Max Headroom, already?
The format, though, sounds intriguing. The show is done battle-style, judged on Twitter.
And once you get through the title graphics, Mike Relm shows off some video turntablism while doing a pretty nice, concise explanation of the modern live visual set’s evolution. I would have liked to hear some artist names mentioned — Emergency Broadcast Network and Coldcut introduced a lot of the video cut-up and remix techniques you see, and Coldcut the ground-breaking VJAMM software (which itself does get a mention). But it could reach some new audiences, and I’m curious to see how this VJ death match happens.
It’s all definitely focused on club visuals and audiovisual turntable sets, which in a way reveals how big the gulf is between this and the growing practice in generative visuals, projection mapping, and synthesis (even including a resurgence of analog video synthesis).
All of that said, it’s great to see this team take on the topic. More coverage can only be a good thing.
So, if this is a VJ and music tech program for the G4 set, what would you want as Create Digital Motion readers? I think we probably bought ten million dollars in cables last year, at least. (We’ve probably collectively bought $10 mil in those little Apple video dongles, as a community.)
http://entertheplaylist.com/ [Ah, remember those innocent days in the 90s when we all used VJAMM and ArKaos, and there was only one Matrix movie?]
Below, videos with ScreenWerks, Eclectic Method. And Yaniv tells us the next epi will feature controllerism “and bout Ean Golden vs Moldover in a 3-round controllerist battle.”
Bonus: Since my locality is set to Germany, IMDB tells me that, in German, Lawnmower Man is, naturally, “Der Rasenmähermann.” Oh, yes. Now I know what my hardcore deathtronic artist name will be.
Subscribe to:
Posts (Atom)