December 3—the artist Samuel Bester did a video installation called « Banquet de Marseille à Rome « at the Mediterranean Archeological Museum in Marseille—France . This installation used 3x synchronized miniMAD devices. https://vimeo.com/194107569
« Light/House » is a MadMapper Driven LED Arrt installation created by the MadMapper Founder Boris Edelstein and Alexandre Burdin in collaboration with the Mapping Festival and produced by GarageCube Hardware.
This Art Installation will be unveiled on december,2 2016 For the opening of the Geneva Lux festival at île Jean-Jacques-Rousseau, Geneva, 19pm. 450 meters of GarageCube Hardware — Scenografix SFX01 LED bar were used to create this stunning LightHouse installation on the top of the 5 stars Hotel Metropole .
“I use MadMapper every single gig even if it is just to make sure I get my screen right. It became so essential that I don’t even remember how I did it before.” by Pedro Zaz, UnitedVJs
MadMapper: Tell us about United VJs? Spetto San:I met Pedro Zaz in Manchester, the UK when he was producing the Showskills festival. Since then, we had an immediate affinity for art and collaborated on many projects. After touring with Pedro for a while, we decided to found a group with the incredible talented VJs we met around the world. This is how the United VJs were born. We are based on a multidisciplinary, like-minded, international team of digital artist. Pedro Zaz: Yeah, that sums it up. These past years, we’ve created dozens of projection mapping and fulldome shows. We’ve performed in over 20 countries, designed software for domes ( BLENDY DOOME VJ) and we even managed to pull together a couple of stadiums shows with hundreds of 20,000 lumens projectors. Maybe not all of the United VJs’ artists know each other face but, for sure, we all know each other’s art looks like.
M: Who and what influence to become an artist? S: Sex Pistols, Kraftwerk, Ministry, Bauhaus, Jean Michel-Jarre, David Bowie. Dali, Deconstructivism, Peter Eisenman, Carl Cox, Green Velvet. Optical Art, loads of movies, books, comics, and everything else. I grew up with my parents who pushed me into art 24 hours a day. This push was the best school I ever had. Z:Hardcore music in all forms and shapes always influenced me a lot. Faster bpm for quick visuals! The Virtual Reality Pavilion in Lisbon Expo1998played a significant role to become a VJ: It was one of the first fulldome theaters in the world with a lot of high-tech and 3D graphics exhibitions. When I moved to Lisbon in the mid 90´s, I met VJ Eyepersonicwho was a huge inspiration for me. Also, back then he introduced me to VJamm when he already had his C++ software for 3D visuals.
M: What do you listen when you are working? S: Techno or silence. Sometimes, I prefer silence. Z: I can get so focused, so I don’t care so much about my surrounding sound. The rest of the time as loud as I allowed.
M: How you did came up with United VJs? S:United VJs is what exactly the name states: almost a secretive group with dozens of artist around the world who aim to create extraordinary experiences with a quick turnaround. Z:At Showskills in Manchester, we mixed breakcore music, made interactive installations, gave VJ software workshops and of course managed a ton of VJs on the line up. This experience gave a huge creative burst, and we kept meeting amazing talents from all around the world. They all come from different background or culture, they worked like us, lived like us and created like us. In 2007, together with GaiaNova, we did the Royal Festival Hall Overturein London, on a massive 100 meters façade with 8 x 20,000 lumens projectors. This was when we had the chance to prove our working method with others like-minded artists from all over the world would work. Show after show, and we’ve kept the same ideal: Let’s always create breathtaking experiences. This is how the United VJs were born.
M: Why are you using MadMapper? S: MadMapper is so practical and has such a great performance. It’s the most friendly tool for video mapping. It does exactly what is says it does and is so versatile. This is also due to the participation we, VJs, been having from before it was released. It has our stamp, the VJ stamp. Z:We were the first lucky artists to witness the birth of MadMapper as Alpha testers in Budapest 2010. Laki Lazloorganized a VJ TORNAand Fançois Wunschel from 1024 Architecture with Boris Edelstein from Team Modul8 called in a handful of artists to try new MadMapper out. Only weeks later, we were already using it every single job we had. We were so inspired by the meeting with other people in this crew that we’ve decided to keep sharing the love and created the VJ University one year later. We taught over 500 students about MadMapper and Modul8 and showed and shared how the United VJs use it in our operations. So yes, we have always believed in its potential and feel thankful to Boris and Franz for creating such tools.
M: What do you like about MadMapper? If you use Modul8, please tell us why too. S: MadMapper – Its connectivity to any other video software and the way it organizes multiple projectors. The mapping interface is really good. Modul8 HD – It keeps the top prize for the fastest VJ software from the old wild west. I don’t know any other program that plays media so quickly as this new Modul8 HD. I’m Speechless. Z: MadMapper: This fantastic user-friendly tool that can suppress the need for expensive hardware gear. I use it every single gig even if it is just to make sure I get my screen right. It became so essential that I don’t even remember how we did it before. Modul8 HD: When Spetto and I met back in Manchester in 2004, I was using Modul8 Version 1.4 (I think) because of my dear friend SoundBringer – who was also doing 360º QT Panoramas at the time – showed it to me. For us, it was spectacular. Finally, computers + software allowed us to scratch video loops truly. With the right codec, you could cut video like butter with top frame rates. This might not sound much today in the world of 4k, but being able to get out there and VJ all night with a single computer was insane. After 12 years, I’m still using it on a daily basis. It feels like home to me.
ENVISIONS – CASTLE MUSEUM, YORK – UK – 15 m – 1 week 6 times a day
M: Any funny story or any challenging moment in this project? S:Yes! The author of this video, Lez Briddon secretly filmed us and published the video on Youtube – listen and see what he wrote in the video description. No one has secretly filmed us before! « Remember, Remember the 5th of November! »
UNITED VJS TEAM: VJ Spetto, VJ Zaz SOUND DESIGN: VJ Zaz MUSIC BY: VJ Spetto ART PIECE COMMISSIONED: Festival Eletronika 2015 PROJECTION COMPANY: On Projeções PROJECTION SIZE: 36m x 18m PROJECTORS: 3 * 20.000 lumens TOTAL IN LUMENS: 60.000 lumens
« 54 » – ESTAÇÃO CENTRAL DO BRASIL, RIO DE JANEIRO, BRAZIL, September 8th, 2015
M: What is next for you? S:We never know, life and technology always bring a surprise or something new. I love VJing for bands, I wanted VJ to David Bowie, but now he’s dead. I am still looking for a new idol to aspire to VJ for. Z: Pixels got seriously all around us today. The options and endless again. AR, VR, MR! With the world of the 360 format, the possibilities are limitless again…
M: Have you ever use our miniMAD? S: Yes it is a nice piece of hardware, I’m anxiously waiting for the update to support sync between multiple miniMADs.
M: Any request to MadMapper? S:MadMapper – support sync between multiple computers via smpte / nvidia sync / network Modul8 – import 3D OBJ and Animated GIF (it will be a must). Support FreeForm 2.0 Any chance to have Windows or iPad version? (Ok, I am kidding)
“I like MadMapper. I feel comfortable using it because I’m following the evolution of the software since the first version.” by VJ Vigas.
MadMapper: Tell us about yourself? Leandro Mendes aka VJ Vigas: I began my research in audiovisual performances in university in 2003, where I presented a live performance mixing images with music. In 2012, I won the international VJs tournament Videozone. In 2013, I won the 1st place of the three editions of the competition VJ TORNA International, held in Mexico City (Mexico), Rome (Italy) and Cape Town (South Africa). I was repeating the feat in May 2014 in the city of Istanbul in Turkey.
« Having an affordable software solution that works well without expensive unique hardware is key for us. » by Limbic Cinema.
MadMapper: Tell us about yourself? Limbic Cinema:Limbic Cinema is a co-operative of artists based in Bristol formed in 2012 by the members, Alex Wright, Tom Newell, Thomas E Pryce and Thomas Buttery.
We met as VJ’s on the club and festival circuits around the UK and decided we should team up. Despite the inconsistent wages and sticky floors, club nights always provided us the creative freedom to experiment and take risks. Over the course of four years, we’ve built strong relationships with festivals and events that we share a similar ethos and creative visions with; we’re particularly fond of Glastonbury Festival, Shambala, Freerotation, Alfresco Disco and Greenman Festival where we’ve exhibited numerous installations and in 2015 projection.
Beyond the music scene, we’re focusing more on the realms of theatre, large-scale building mapping, and Art Installations. For example, making contributions to The Stick House, and bringing the Wren Library in Cambridge to life with narrative driven visuals were both hugely fulfilling projects.
« Madmapper changed the way that we were making mappings, things get easier. »
By VJ Eletroiman
MadMapper: Tell us about yourself? VJ Eletroiman: Hi, my name is Ricardo Cançado, aka VJ Eletroiman, and since 2000 I am working with VJing, stage design, audiovisual performance and in the last years I was dedicated to Video-Mapping techniques.
Since the beginning of 2003, I am developing a Live AV called Representa Corisco. This project was based on an imagery inspired by the Brazilian popular culture and it explores political and social issues through the iconography of the “cangaço” movement and one of its characters: Corisco. After so many years developing this project, now I present a 45 minutes performance with animations that mix video with other techniques including photography, drawing, 3D, and 2D animation.
« I don’t choose to be an artist, but sometimes it just happens. »
by Kalma VJ
Madmapper: Tell us about yourself? Kalma VJ: I´m Kalma, a visualist with a sound engineer background. I use real time processes to create installations, mapping, and vjs sets.
M: You have been giving workshops in Berlin for a while. What do you want yourstudents to learn and what is your challenge? K: At the moment, I’m working on my next workshop in Berlin. We’ll learn the basics of Modul8 and Madmapper. I´m very excited because the people registered are coming from very different backgrounds, and all of them already have an idea about what they want to learn.
“I simply love Madmapper because it is handy and so precise.” by Jacques-André Dupon
MadMapper: Tell us about yourself? Jacques-André Dupont: I’m Jacques-André Dupont, a French-Colombian AV artist, and performer based in Berlin. I studied media and masters in film post production. After a short experience in the cinema special effects industry in Paris, I decided to develop my activity around motion design and video production for greater creative freedom. After two hard working years in Paris, my new life in Berlin was a bowl of fresh air. I took the time to develop my artistic work and played live visuals in different techno clubs and festivals. I was interested in the interaction between light and matter, how to bring my creations outside the screen, onto tangible surfaces. Since I was following the VJ scene, I was very inspired by the amazing works of some « Daddies » of the video mapping like the 1024 Architecture or AntiVj.
MadMapper: Tell us about yourself? Jose Carlos aka VJ Gorilla & Up Creativos:I am VJ Gorilla and run a media company, Up Creativos in Peru. I make everything that my commercial clients need for their branding and events.
I’m an electronic musician, based in Paris. I started to play drums and piano in my childhood. But my main interest has always been music composition. Like many people, that’s how I was lead to using computers to make music. The simple recorder at a first time and then as a specific musical tool for sound design, composition and production (electronic music).
Then, I discovered MaxMSP and started experimenting transversal proposals because I love music, but also visual, design, architecture… In order to deepen my work, I attended the « Computer Music Designer Master 2 » in 2013 (University Jean Monnet, Saint-Etienne, FR). Then, I was computer music designer – trainee at Theatre de la Renaissance (Lyon, FR) and at IRCAM (Paris, FR), where I improved my work in synthesis, control and spatialization of the sound. I was selected in great workshops allows me to work with Robert Henke (2014) and Scanner (2015), allows me to experiment multichannel sound diffusion, generative music, audiovisual links…
In the same period, Stereolux helped me to create my first audiovisual project: oqpo_oooo. First presentation at Scopitone Festival 2014 (Nantes, FR). Then, I presented this works at international festivals including Elektra (Montreal/CA), Open Source Art Festival (Gdansk/PL), Lab30 (Augsburg/DE), BAM (Liege/BE), Digital Choc (Tokyo/JP)….
MadMapper: Tell us about yourself? AVAinmotion: AVA Animation and Visual Arts is Pedro Narvaez and Emma Lopez. After working as an animator and a broadcast designer for four years in Canada, we decided to start our company specialising visual contents for architectural projection mapping in Mexico. The Niigata MINATOPIKA International Mapping Competition, Japan, 2nd place.
M: Who and what was an influence to become an artist? AVA: Basically, everything we liked changed us, video games, cartoons, Japanese animation, sci-fi, comics and art and technology.(suite…)
MadMapper: Tell us about yourself? Adrien Boulanger & Michaël Ventura: When we saw Boris Edelstein, a founder of MadMapper, started working with LED light mapping, we decided to develop our project. We like an installation with new technologies in an old environment. The Zoo in Geneva, where a part of Mapping Festival happens, was a great place to test out our project and gave us a great inspiration!
Eric Raynaud aka Fraction:The project initially started with my research on ambisonics sound in residency at SAT (Montreal) at the end of 2014. I wanted to develop a way to smoothly perform electronic music in a sound field larger than regular stereo using SAT’s world uniquesatosphere.
I was interested inambisonics that drove me working on softwares like Iannix and max msp connected to live Ableton. At the end of my research, I really wanted to create a new audio visual performance. As you may know, ambisonics is a full sphere technique for sound spatialisation. It is a more natural way to move sound sources into the sound field.
Jeanne: I’ve been making X media for about 16 years (X = web, graphic, digital, video, interactive, multi, trans, creative, etc.) I got my first job as a Web Designer in High School, and I think I’ve always been on this path; of playing and making things with visual and digital mediums, and working with technology. I fell in love with projectors in college, and started VJing and making visuals at parties and collaborating with other artists that I met, who were also always making or performing with visuals or sound. I’m thankful for all the amazing people I’ve met over the years who inspire and challenge me to keep making. I’ve been working as a hands-on producer of exhibit media at NYHS for 3.5 years, and I’ve found it super rewarding and have learned a lot about developing the narrative.
We will find MadLover’s best photo from Instagram and will post on our social networks. Tag us,@mad_mapper, #madlover, #madmapper, #madlight or #minimad to your Instagram photos so we can find your art work easily. We will feature 6 best photos on our blog in the end of month.
Cinzia Campolese said just one project changed her life direction. Her last project at the Architecture University of Florence in Italy, a sound reactive RGB LED lights on Luminex fabric, “Concerto per Musica Cromatica”, moved her away from a classical set, costume design and production what she focused on during her school into audiovisual technology. Totally, a new door was opened for her.
Jacopo Castellano worked with Magdeburg Opernhaus for the production of the ballet-opera “Stabat Mater” where the winning combo MadMapper/Modul8 were used and were « essential tools during the production process » .
Stabat Materis a ballett by Gonzalo Galguera, music by von Gioacchino Rossini, Benjamin Britten and Ralph Vaughan Williams.
The City is London is a mashup music video created by Ithaca. Ithaca Audio is a creative audio company from Brighton – UK . This video used resolume for the video content and streamed through syphon and mapped in MadMapper.
From 4 till 6 May 2015, during the Electropicales Festival in the Island Reunion, Studio Corium was invited to give a mapping masterclass, working on MadMapper, Quartz Composer and VDMX. Intensive dumping into the software to learn how to build a scenography from A to Z.
The initiation into MadMapper served to understand the bases of mapping. Among many other things, the participants learned how to cut the video signal, create masks and different presets, and get back the Quartz compositions with their inputs into MadMapper. The power of the software allowed the participants to get easily creative and to be quickly enthusiastic on the exploiting possibilities.
At the end of the session, the final work was projected on the walls of the Old City hall during the inaugural night of the festival.
MadMapper supports a great Kickstater project from Craig Winslow where two video adventurers will cross the USA territory during 15 days in June 2015. 15 of daily immersive video Mapping projections illustrating a westward adventure from Portland (ME) to Portland (OR) using MadMapper
LEVEL is a Project created by Team IF and made with MadMapper by our dears friends Cinzia Kamp (who was a teammate of 1024 architecture) & Erminio Serpente . This installation was presented within the entry hall of the ‘Machine du Moulin Rouge’ in #Paris.
on February 27, Valentina Calabrese presented a video piece called « Art remixed on Michelangelo’s David « at the Academy of Fine Arts in Naples. This project was made with MadMapper and the video mapping was achieved by gloWArp.com studio who also was the thesis supervisor
DuckUnit is a company based in Thailand. A Hug Teddy bare made of LED lights and video was built for the T.E.D (Thailand Electronic Dance) at the Big Mountain Music Festival. This installation was built with #MadMapper with #Modul8 and #MadMapper
BL_ND is a Live Paint mapping performance from the collective ONDÉ .This project that uses Modul8 and MadMapper was presented at La Gaîté Lyrique – and the #BAM Festival – Liège. BL_ND is a collaboration between the street artist BLO and the audiovisual artist Jacques-André Dupont where the agents « light » and « paint » are co-defining composition, texture, mouvement and rythm in real-time.
INFINITE is an elegant, sharp and minimalist audiovisual installation from Liu Chang & Miao Jing from the NYU-ITP, (a school focusing on interactive, visual & sound) made with MadMapper.
The experience is an encounter with c’est a marvelous spectacle. Then the projection and the sound add up within the space interleaving. Infinite is a unique experience, or an atmosphere, like when one is immersed in a mountain, a waterfall or a cliff in infusive perceptions.
1024 architecture and GarageCUBE worked with Traffic association and local Artists form Bordeaux to create a 3D LED installation for the Semaine Digitale – Digital Week of Bordeaux with MadMapper. A workshop was held at Darwin eco systeme. Here’s the sneak peek video of this installation.
The Shadow Lab studio located in Dublin created a crystallized Video mapping scenography for Vincent McMorrow’s « Look Out » video. The animation created for the video was runned by Modul8 and Mapped by MadMapper.
//CREDITS Director: Emma J Doyle Lighting Design: Conor Jacob Director of Photography: JJ Rolfe Animation/Mapping: Anthony Murphy
1024 architecture and Garagecube are currently conducting a workshop at Darwin ecosystem- Bordeaux. 5 video artists from Bordeaux area joined this workshop to build a light installation for the digital week #SDBX4 . This art piece made out of 5x 3d digital clock characters will be installed on the front of the Bordeaux’s city hall from the 12th of september
Three Moons Augmented Painting installation is a symbolic interesting work created by the Berlin based Audiovisual Artist Jacques-André DUPONT for the B-Seite Jetzkultur . MadMapper was used to perform the visual Mapping.
Our good friends Mika Ventura and Adrien Boulanger (the technical wizard of mapping festival and electron festival) created a great stage design and visual performance at the Stereolux – Nantes -France
Our super friend Isis Passos from Brazil / Rio, just joined a new VJ group called Domina. We hope to have some fresh news from them in the near future. Here are some screenshots of their set using Modul8, MadMapper and MadLight…
DuckUnit, located in Bangkok -Thailand used Modul8 and MadMapper to create a video and light mapping on a massive 3D Head sculpture for the Blackhead Concert . The video report shows the making of the sculpture, Visual footage shooting ,and stage setup
Our BFF at Imagima – aka Chika – , the New York based experimental crazy, are currently showing the Shikaku installation at EyeBeam. Shikaku – digital Zen garden – is a light installation controlled by MadMapper. Here’s the video report:
FOOL CTRL is, as they say, a visual artists conspiracy. Conspirators are well know to you- dear blog reader – : Mike Latona and Tarrabass, striking again. This time they claimed to have gained control over every equipment in the Zoo night club in Geneva. I particularly enjoy these attempts at controlling everything in an environment. And their video report aims at explaining everything in pictures, from LED hardware construction to the MadLight setup to the actual performance. Heads up.
This is a nicely shot video of a mapping performance by Simon de Diesbach. He is using Processing and MadMapper. I particularly like the simplicity of the video and the funny « perform with a bluetooth keyboard » style.
A former attendee of one of my workshops in Oslo, Ove Dahl (aka Supervoxel) takes video mapping on the road, roaming around Norway and finding interesting places and things to map video with some surprising results. 10 different installations in 12 days! Talk about marathons? Above, mapping a tunnel.
Mapping video onto a silage ball.
Continuing with the ball theme, styrofoam in a nest.
And a personal favorite of mine that will not surprise our regular readers.
You can see all of the installations on the website for the project:
New Zealand born and now Berlin resident Jem the Misfit fully entered my field of vision during a Scope Session this past winter. I was impressed by her thinking process and approach to visuals, particularly in how she addressed her clip library as a sort of color palate, the results of which produced a painting, that being the final output. This sensibility allows her to create immersive experiences with video even within the confines of traditional screens.
From this point of view she has applied this sensibility in a rather unconventional use of MadMapper, using it to create shapes that are part of the composition of the screen as opposed to creating graphics that match physical objects. Such is the case in her recent AV performance work « mystery is what holds us together.
This work has been performed this year at LPM in Rome and a similar one at this years edition of the Mapping Festival with more opportunities coming in the future to evolve the project further.
I have posted about the work of ONDÉ (Jacques-Andre Dupont) before, he distinguishes himself in collaborating with a variety of people and materials, some trailing off into interesting and less conventional areas such as cellos.
This most recent evolution with TAPEOVER (a duo that create indoor murals using tape) meaningfully re-introduces using white or reflective materials over a black surface to produce the illusion that the image is floating in mid air, as is most appropriate given the subject matter.
The other aspect about this approach that is interesting is how the actual quads themselves are not precisely mapped over the shapes, and they do not need to be because of the fact that any black surface that you project on simple gets swallowed up, especially when situated right next to a bright surface.
Arriving today in my inbox was this message from Bordos Laszlo Zsolt from Hungary:
I would like to introduce you the very first permanent outdoor video mapping project in Europe! Close to the East border of Hungary a great initiative for saving a small castle by creating a new touristic attraction seemed to be a daring idea. Today, the idea became reality: starting with 15 of June 2013 Europe’s first permanent video mapping projection will be launched. All those who would like to have a wonderful evening are welcome to visit the castle and it’s surroundings. After dark, an artistic video mapping show will be projected every day, each hour, for at least five years!
The primary focus here is his use of the Spatial Scanner. While this is not the biggest I have seen, it still impresses me how well this technology scales to work with buildings.
The playback system is the following as explained by Zsolt:
« For the player system i have used a Wings Platinum since the client asked to have a player system which can be launched with a phone or iPad. The projector is an 18K Christie HD.
Zsolt is a very accomplished 3D artist in this area of facade video mapping. His productions are always very smooth and on par with that grand cinema feel to them.
I have to admit that I have never been completely convinced of the Kinect and what the artistic community has been doing with it (including to a small degree myself). I always have this feeling that the basic parameters of good interface design are most often ignored, when creating meaningful representations of what its capabilities are, and the interpretations of body movement data it produces, in relation to body movements.
ThingsHappen have used Modul8 in the past to very good effect. In some of their works I saw high quality images with an alpha channel being scaled or smoothly interpolated across a black background. This for me spoke volumes about the power of Modul8 as a tool for live composition, connected with creating curious counter points with the content. It was somehow never repetitive and continually informative.
So it’s nice to see ThingsHappen to continue to live up to their name. It makes complete sense to me how they overlay a graphical interface that allows you to see what you are doing and also remain interesting to an audience, well, at least me anyway.
I like the idea that this can be used to represent notation, like amplifying the movements of the conductor, this way the audience and the orchestra (yes, I real live orchestra with lots of strings and big tympani drums) can see the queues. If not done too obviously, it could be pretty engaging. The pitfall is what leads me to a point I am sure that ThingsHappen are fairly clear about in their video. Even though it is done with crisp video and beautiful compositions of color, the figure of the person silhouetted in black, almost makes the video an artwork in itself, it is still a demo. And I would expect nothing less from ThingsHappen to… make things happen.
Luis Perez of the Madrid, Spain based company Light Project produced this spectacular opening of the DJ booth for the 2013 edition of the Desalia festival in the Dominican Republic.
Luis writes: « We also use Madlight. We controlled 150 versatubes and 20 LED blocks. »
Just to give you an idea of how many people it takes to assemble such an operation here is a list of the names on the crew:
Hugo Rufo Benito Perez Luis Perez Navas Luis Miguel Sanchez Maxi Gilbert Fernando Cittadini Luis Gomez Miguel Angel Almagro Roberto Arribas Juan Lurguie Peter Colombo David Segura Prack Marcos Ramon Luna Emilio Raduan Ladislao Garcia Rafael De Castro Angel Naval Jonathan Roldan Juan Ramón Romero Kio Auba Andres Ramos Pedro Jimenez David Lara Diego Soto Manuel Oyola Guillermo Fernandez Fernando Sanchez Eva Torroja Friendly Promise Antonio José Aparicio Achiever
I am sure we could have a massive ‘how-many-people-are-in-my-team’ battle, but we also know that it is not all about that.
It was fashion week in Santiago, Chile and Telefunken supplied a sumptuous, rear projected video mapped wall for the catwalk. It’s interesting that you can still read the gap logo despite it being broken up by the sculpture. It’s a nice change from the more common catwalk where the models walk on a lane surrounded by people. If I were to have to go down a catwalk I would prefer one side to be video mapping.
Here are some style frames of the materials used for the projections. I like how they stand on their own in terms of works of art.
And a close up shot of one of the models with the projection in the background.
A site specific installation by the Iceland based architect Marcos Zotes. Using MadMapper and a Matrix inspired esthetic, the cavernous hull of an Icelandic Coast Guard vessel as part of the Reykjavik Culture Night back in August.
For some more images of this installation as well as the exterior of the vessel itself on this page on his website. And if you are located in the northern hemisphere, think of how nice and warm it must have been.
The sounds for this installation were composed using samples downloaded from the Freesound website. A really great resource if you are looking for sounds for your projects.
NYX puts a very refined touch to the evolution of the definition ‘trip’ with an extremely colorful wall installation that is a collaboration with SPES LAB, a photo studio of the photographer and painter Koutaro Ooyama.
One of the most interesting things for me about this particular work is how light is sometimes used to merely expose portions of what is there, as seen in the early parts of the video with the white shapes and radio waves. There is also quite a bit of direct mapping interaction, with what looks like tracings of the exact shapes of the painting. Definitely something that everyone should try to explore in working up a repertoire of video mapping related projects.
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:
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.
I have previously microposted via facebook about the work of Sougwen when the artist brought her organic stylings into a live video context for to the electronic duo Sepalcure. Here, Sougwen ventures once again into the audio visual realm with an augmented installation entitled Chiaroscuro (Étude Op. 3, No.3), for the Art Directors Club Gallery in New York as part of an exhibition hosted by Ghostly Records.
MadMapper is part of a long list of other tools, amongst them Modul8. Naturally, the driving force behind this work are the ideas, that being the drawings of the artist.
The spacial scanner function is put to the best use when the objects are elaborate. There is generally a lot of excitement about the possibilities of what can be done with this feature and we have certainly seen some very fine examples.
Here is a very refined one. Yet another project by the increasingly prolific Jacques-Andre Dupont. I was pleasantly surprised by this. While it is not in a club or a massive outdoor facade, the focus on the details and timing are exploited to the fullest.
A good solid use of the DJ space in this installation AndrogeneCollective. Interesting approach to creating textures in 3D for ‘cowboy mode’ as Frz likes to call it. ‘Cowboy mode’ being when surfaces are mapped using ‘flat’ textures do not directly relate to the surfaces that are being projected onto them. Full mode being when you have a 3D model of the building or sculpture you will project onto. There is no argument for or against either approach although one could argue that building turning into robots or shattering has a higher impact on your audience.
The truth of the matter is one does not always have the possibility of the ‘full mode’ and there are some really nice works created using ‘cowboy mode.’ The above clip really pushed me into writing this article because besides the clips that were created for MadMapping workshop this is the first instance I have seen someone specifically format the content for use in MadMapper. All create using the free and open source 3D rendering and animation program Blender.
One of the most community oriented events in Berlin is the annual 48 Hours Neukölln event. Neukölln is a neighborhood nestled between the historical Templehof Airport (now closed and functioning as a park) and Kreuzberg. Some refer to the area as Kreuzkölln because both neighborhoods are almost indistinguishable in terms of the recent influx of artists and trend seekers that have spawned art spaces, galleries and speciality shops. 48 Hours Neukölln consists of two days that are a platform for all artists living and working in Neuköln to engage the greater public. The potential for exposing the public to video mapping is quite good no matter what form it takes. So I was really pleased when a former participant in one of my Berlin MadMapping Workshops, Jacques-Andre DUPONT presented the installation above at Locht43.
If we assume the concept of artwork taking on a life of it’s own we can see the video above as a collaboration between a musician and the installation. The immediate question would be ‘is what he doing affecting the video?’ For the sake of arguing I would say ‘yes’ because the musician is standing in front of the work. And as you can see and hear, that’s a beautiful thing.
This one came through our twitter feed. What struck me at first was the sculpture and its minimal surfaces this being Akin to the the work of FAIL with some obvious differences in that the structure is a parallel one. But what really struck me was the occasional triangle graphic that is not necessarily mapped to every surface but still compliments the structure itself. I look forward to seeing this concept being developed further.
Scott Fitzgerald likes to control lights. Not content with anything conventional he has lately been combining mapping projections with fluorescent lighting.
« … the piece was a study on using lighting that was both coming from a source, and falling on the source. The physical structure is an abstracted topographic map of Mount Greylock in Adams, MA, the highest point in the state.
The video content was rendered in after effects as a combination of bold, pixelated colors, particle systems, and silhouettes. I used Max/MSP/Jitter as a playback tool, mixing the videos while doing some subtle changes (hue, frame blending) to each piece, so it was a constantly evolving work. The lights were controlled with an Arduino and 8 relays. There was a nasty mess of wiring involved, the lights are suspended 4-6metres off the ground, and the wires run to an air duct where the ballasts are located, about 5 meters away. It’s another 5m to the computer/projector/microcontroller.
I used MadMapper to texture the lights with the video content from Max via Syphon. The most time intensive tasks were renderingt he video, and hanging/wiring the light. Once the physical install was ready, It took minutes with MadMapper to get the video aligned the way I wanted. »
In other words, MadMapper allowed him to focus most of his time on the more complicated aspects of the installation.
Scott considers this the ‘sketch’ version of the installation. Fortunately for all of us he has another opportunity in the future to fulfill his vision in the near future.
Leandro Vigas took a trip through Europe last spring, with a few days in Berlin where he provided valuable assistance during a MAdmApping workshop Pedro Zaz of United VJs and I hosted. He had already started doing video mapping projects prior to that and it seems that his visit further refined is ideas about the medium. There is a simple efficiency of this installation along with a refined sensibility and variation of the graphical forms he is using to shift between both a compliment of the forms and their augmentation. There is also a very nice balance between the forms and the space.
Some massive cubes loomed behind the find DJ lineup at Houza Palooza Festival 2011 in Belgium with design and graphics by, and under the control of Jean-Michel & Jean-Philippe Verbeek, utilizing MadMapper for the dressing and Resolume with a VMX 64 from Codanova to keep it all under control. You may notice that there are absolutely no screens to be seen anywhere making the installation the focal point of the experience. You can follow the work of Jean-Michele (aka VJ Konstruktiv) through his Vimeo and Facebook pages.
It was a year ago that I first met VJ Erms in Rio de Janeiro for the Video Ataq festival followed by VJ Tourna and a string of other VJ related events. One of the winners of that Tournament he demonstrated a very sexy and sexualized style of VJing. Like most of the young Brazilian VJs he demonstrated a raw energy packed inside that 4:3 aspect. A little less than a year later, he gets a hold of MadMapper and a whole new world opens up.
I am always interested and concerned about portability. Maybe it was because of the impression that nomadic people made on me as a child? I remember the joy of my first laptop. « Now I can do what I love anywhere I want! » It was also one of the things that made VJing much more accessible in the sense that one did not need to lug around a mixer and two VHS decks. Even projectors have become smaller. Now with mapping being all the rage, you may ask yourself « how am I going to break away from the screen without breaking my back carrying a stage set around?
Enter Supermafia with a series of small, tripod mounted screens. I can see how you could change the arrangement a little every time as well, and thanks to MadMapper they can do their setup in next to no time.
Supermafia had already established a reputation for guerilla style disco as demonstrated in the above video from this years edition of the Mapping Festival. An inflatable dome setup in a matter of minutes, complete with music, lighting and visuals. I wonder if they ever considered having their own inflatable audience as well?
Here begins the first ‘meaty’ blog post on the MadMapper website since the launch date. I will enjoy this moment now, a short break from all the tweets, facebook posts and emails in order to write out an email based interview I conducted with the artist Kit Webster. His work was included in the exhibition of the Mapping Festival this year. We saw his work and the workflow he was using and decided to make his life easier by granting him a Beta license of MadMapper. After providing him with a 5 minute tutorial he was on his way, wondering how he could have done without it.
I had actually seen Kits work prior to our meeting and it was interesting to see how his work had evolved in the past year. From looking at his work, it was not surprising to me that we shared a similar viewpoint about projected light and surfaces.
The following interview with Kit was conducted in the days following the opening of the Mapping Festival.
ilan: First, I need to introduce you with a brief introduction of who you are, where you are from?
Kit: I’m Kit Webster born 1981 and raised in Melbourne, Australia.
ilan: What is your background, photography? animation? video compositor?
Kit: I’m originally an electronic producer and sound designer but I eventually defected to the visual. I studied sound art at RMIT in Melbourne and during this degree I had the opportunity to do an elective on Max/MSP. This was taught by Robin Fox (google him he has a killer laser show that synchronizes laser with live sound from Max / MSP). I was blown away by the capability of visual programming interfaces and started researching new media art around the world. Legoman’s 3Destruct installation was a very inspiring piece for me and it’s an honor to have a work alongside Legoman and Thomas Vaquié at the 2011 Mapping Festival.
ilan: When did you first get into making art with video projections?
Kit: I started playing with projection a couple of years ago. I was experimenting with Max/MSP and vvvv and different concepts regarding illumination of geometric forms. I approached the RMIT gallery in Melbourne and asked if I could use the gallery during their closing period in order to prototype and film a light sculpture idea. The curator liked the work so he put me in the schedule for a solo show. That is how I produced Dataflux, a live installation syncing sound, DMX servos, strobe and projection running out of vvvv. After putting it online things went nuts.
ilan: What interests you about the medium?
Kit: I am obsessed with the idea of the digital being merged with the physical and the illusory and sensory qualities of audiovisual installation. I like the way mapping generates a kind of hyper realistic interpretation of space, and ways that we can produce works not only digitally connect with space, but also take advantage of human senses and perception. I am currently developing a work that investigates the synesthetic properties of visual and sonic spectrums and their geometric relationship with space What does this mean? Strobes, lasers, mapping, rhythm and phat subbies taken out of da club and moved to an intricately controlled gallery environment.
ilan: What was the workflow you were using for mapping projections prior to using MadMapper?
Kit: Animations are produced in Flash, arranged in After Effects, edited and comp’d in Final Cut to sync from sound out of Logic, and then finally mapped with After Effects. Ten layers and ten masks are produced. One for each element of the Enigmatica sculpture which would mean an overnight render before I could see the result in realtime and mapped.
ilan: How has the MadMapper been helpful to you and made that workflow easier?
Kit: MadMapper allows me to instantly test a visual concept over sculptural forms without having to render in After Effects. Because the visual sequences appear very differently over the sculpture and surrounding space than on the screen, I can make tighter, more sculpturally appropriate visual concepts that are based on evidence of their effectiveness. Because the sculptures I work with are large scale, the only time I can test concepts is when I am invited to present a work. Because of the short testing time that is available its essential that my workflow is rapid.
When I travel my sculptures around to different events I can now keep the same base sequences and fire up MadMapper and easily sync to different specifics of each site. This means less time maniacally huddled over a computer time and more Kit chillaxin’. WIthout question, Madmapper is the equivalent of hyper drive. It should be called Sanemapper IMO.
Seasoned projection artist Legoman, known for his layering of screens and collaborations with AntiVJ is one of the fortunate few who has had access to testing early alpha versions of MadMapper.
After receiving these images interviewed him briefly about his experience using the MadMapper in relation the the images.
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md8: What what ideas you were trying to explore with the project?
Legoman: It was just a small unpretentious VJset. The evening was organized in a train station without any infrastructure for video, nothing to hang something from the ceiling and without a big budget. The idea was to find a easy way to integrate video into the site without needing a complicated and expensive technical system. Therefore we chose to project onto the ceiling with 2 wery wide angle projectors placed on the ground.
md8: How did the MadMapper help you?
Legoman: The ceiling was composed of square tiles. To successfully integrate video into the place, we needed to map these tiles to create a kind of « video mosaic. » MadMapper helped us to quickly create this mosaic, correct the distortions of perspective, and make different presets of tiles. Without MadMapper it it would have been very hard to do that as quickly and efficiently.
The result was artistically very interesting and surprising. The sofware has allowed us to very well integrated in the place visuals not created especially for this event.
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The point best illustrated in this article is how easy it is to create mappings with the MadMapper while using your existing content within Modul8. Creating something truly site specific still takes a lot of work, and that is true in most cases anyway, the MadMapper does allow for a more spontaneous mode of exploring this fast growing area of projection art.
Those bewildered by a photo from an earlier post now can now get a full experience of what it must be like during a break time at the French Masters series in Paris Bercy / 2010. 1024architecture clearly rolls their own with a custom solution. But the Mad Mapper saves them from having to concern themselves with wasting time on mapping, allowing them to focus on what is mapped… to the tennis court.