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.
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.
« 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 .
more info about the event on facebook
Our co-founder, 1024 Architecture’s new installation is opening tomorrow night at Cite de l’Architecture and Heritage.
TANGENT is a scenography which supports the content of the exhibition » LIVING the CAMP » and kinetic work to put in motion the space of the exhibition.
TANGENT is a spatial installation, visual and sound that interprets the notion of movement and displacement inherent in any situation of camp to transcribe dynamically, metaphorical and poetic.
1024 architecture / Pier SCHNEIDER, François WUNSCHEL, Nico Merlin, David Benmussa, ElizabethPham, Fernando Favier.
Pixel tape compile -video of a #MadMapper #madlight installation running live video to a wall made with 600 meters of Pixeltape driven by madmapper and 6x Advatech Pixlite 16 over 90 universes of artnet.
the next Interactive Mappathon will be conducted in December 5-7 by CHiKA
Interactive Mappathon is a 3-day projection mapping marathon workshop, followed by an art installation exhibited at REVERSE Gallery and open to the public in December in NY. Learn the latest projection mapping techniques and technologies and then create a final advanced site-specific project.
Interactive Mappathon teaches participants the latest technology for mapping video projections on physical surfaces, incorporating multiple surfaces and shapes and moving away from the traditional confines of the screen to sculptures and building facades.The goal of the workshop is to create several projection mapping installations with or without interactivity, where the participants create content for complex surfaces. At the end of the workshop, participants will showcase their work to the public at REVERSE Gallery.
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
Another interesting installation from our friends at L.E.G using Mad_Light …
L.E.G is the team to keep under your radar !
MadMapper was used for the « Vertical Map » experimental audiovisual installation. this video installation was set in Marseille by the collective « illusion.research.light »
A full MadMapper experience by Peter Ankone aka VJ ANK1 @ Speedfreax, Maassilo Rotterdam. This stage setup uses MadLight and Video Mapping at once!
Benjamin Muzzin and Mathieu Rivier used Madmapper to map on a gigantic Structure made of a 15 km Wool Strings . this event took place in Langenthal’s Markthalle for a special event, the Design Prize Switzerland, which is held every two years. ‘Twist’ was originally conceived for an exhibition commissioned by Lantal, a leader in the design, production, and distribution of textiles and services for the international community of aircraft, bus, railway, and cruise ship operators.
The main inspiration comes from the fascinating machines used in Lantal’s factories to assemble all of their threads together to make one single piece of fabric. ‘Twist’ intends to put in light this hidden process of fabrication, with hundreds of strings all across a room with video projection giving them motion.
Null Øbject International Bureau is an experimental design team based in Chile, with wings in London, Spain and France.
They are chasing the holy grail of bitmap imagery as well as mixing and experimenting new technologies to create transmedia art.
Combining music and soundscapes from the artist Amigo de los Insectos, this performance was created for the opening ceremony of the Biennial of Medial Arts 2013 in Santiago, Chile. They used DMX led stripes, MadMapper and cameras, with video delay synchronized by midi signals.
Hope you like it!
you can find Null Øbject on Facebook:
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.
Numeric God, a new project by our friend Tarrabass from CENC.
This is a piece of an interactive exhibition in south of France, where there are 5 different videos installations.
More information here.
This one uses video mapping technology (provided by your favorite software) and also features some custom LED setup, driven by MAD_Light. I have to admit that since we released MAD_Light, installations mixing video mapping and LED/Lighting fixtures are flourishing. This one is especially good, I like the raw minimal style.
Tarrabass was kind enough to provide us with some « in depth » explanations, all written in perfect english.
As he puts:
« 1 Build the structure
I send i draft of the structure to a good freaky builder who used wood and Spandex which is strechable enought to make the shape you want.
2 Setup the led
We order and setup LED on the structure.
it’s can be really messy to find the correct led stuff on the chinesse market.
I worked with white adressable strip led which using the ws2081 protocol (10$ by meter).
It’s little more tricky than dmx led bar but it’s cheaper and you can get the lenght you want.
a – I use showjokey artnet dmx box which work on 2 univers (90 $),
(it’s works with you laptop on IP fix, with ip : 192.168.0.1 )
b – 2 dmx > ws 2801 decoder, work with 512 adress (30$).
c – 2 power 12v supply (One each 15 meter) (20$)
3 MADMAPPER setup
I use madmapper to feed 3 videos projectors and the led setup.
All the video is reel time generated by a quartzComposer patch which is sequenced by Ableton Live.
The MadMapper input is a big 3072 * 1024 pix, all the video projector is put and the side, one for the structure and two for side wall.
For the final touch i add i special fixture which is the Atomic 3000 stroboscope, control by Madmaper as well.
4 LET’S PLAY
After this 3 step made, we could just forget the teknical stuff, find some drink, good friends, good noize, and spend a night to enjoy, and make some audio sycronised content. »
Our good crazy friend Mike Latona did a kewl video report of his (somehow collaborative) VJ Set at the latest edition of the mapping festival in Geneva / Le Zoo.
Tight and sharp visuals, as always, mapped with MadMapper, also featuring engraved LED bars, controlled using MAD_Light. One word: Yeaaaah.
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:
I have zero information about this video, but really nice LED installation with lighting controlled from Modul8 via MadLight in MadMapper.
Not wasting a moment, Santiago, Chile based Telefunken Studio creates a simple yet stunning LED installation using MadLight and some of the principles introduced to the MadLight world with the recent Mad_Orb installation by 1024/GarageCUBE in Geneva and New York, perhaps even simpler than that!
On that note, I spent part of my weekend in Paris where I caught the very final days of the Dynamo exhibition at the Grand Palais. On display were a plethora of light installations and optical/kinetic/op-art projects spanning from the turn of the century to the present. It’s humbling and awe inspiring to see the amount of work that has been done in this area. With MadLight we can see how these ideas are reaching beyond the gallery space and into a mainstream and local arena where playing with light in this way becomes commonplace, while remaining spectacular.
The not so long ago birthed IF is quickly and stridently making a name for itself with their latest in a string of efforts in the area of installations, this particular piece is a unique blend of exhibition space, sculpture and sound composition.
The overall concept aside, and from a strictly visceral point of view, I am intrigued by the use of lighting within the boxes and podiums combined with projections of them on their surfaces.
There is also a sensitivity to how the projections work with the sounds, something that is actually technically trivial for the most part, the emphasis placed the decisions one makes in order to communicate through the material the concepts that are supposed to be driving the piece.
The most important aspect, at least from my perspective, they are not resorting to the spectacle of augmentation, allowing the projections and the surfaces speak for themselves as is without trying to fool our eyes with an illusory third dimension.
Live video & light installation for KSAT#6 / The Secret Issue release.
Maison du Portugal / Paris 2013.
Software used : QC + Ableton Live + MadMapper
Music by : IF
MAD_Orb, a MadMapper-driven stage installation.
1024 Architecture and GarageCube team are back from New York, where we realised the MAD_Orb installation, on Pier 84 for the Thump opening party, a new magazine by the creators of VICE.
The Orb consists of a faceted scaffolding sphere equipped with 192 White LED tubes (designed by GarageCube and ShowJockey in china), controlled by MadMapper using the MAD_Light feature.
The tubes are positioned in 3d space, which gave us a challenging time to unwarp in 2d video space.
More photos and details about the software setup on 1024 architecture blog
This smart scenographic project shows MAD_light in action, depicting the possibility to sync pixels between video and lights.
Matthias is actually controlling 63 sunstrips lights AND projecting visuals at the same time, using Modul8 and MadMapper in combo. Congrats !
Our friend Aurelien Lafargue from NATURE Graphique sent us this nice report of their latest installation, using MadMapper to drive the mapping.
I especially like the fact that the installation is composed of multiple primitives volumes. It reminds me of my architectural studies … we had to draw these abstract still life with pencils.
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:
Luis Perez Navas
Luis Miguel Sanchez
Miguel Angel Almagro
Ladislao Garcia Rafael De Castro
Juan Ramón Romero
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.
Last year I was invited for a residency at Atelier Nord and given that this worked out quite nicely I was invited again this year. As with last time, I stay there for a week or so, do a workshop and get to make some art in the space called ANX.
Having done quite a few workshops, I have to find ways to make it interesting for myself, or else the presentation becomes stale and I am just going through the motions. This time I decided pursue an idea I had for a while, making one sculpture in the center of the space for everyone to map on from different angles.
To do this, I had the immense help of Howie Stammnes. I consider it a sort of collaboration as we shared ideas on how to build this ‘grape vine’ like structure, deciding together which boxes should go in what angles, leading into the tricky task of suspending the whole thing from the ceiling.
This is the sculpture just after we finished putting it up the night before the workshop.
Audun Notevarp Sadvold (who made the video at the beginning of this post) and Thor Moldestad experimenting with Mad_Lab after finishing the mapping of the surfaces from their angle.
Photo: Astrid Elizabeth Bang
Astrid actually attended my first workshop in Oslo, but came back again to get some more experience.
Howie made a time lapse of people mapping the sculpture as well as a little last minute idea I was working on until the very last minute the day after the workshop. You can see it at the end. Within less than five ours I mapped every surface, made a separate image from each using After Effects, exported them as an image sequence and then used MIDI notes in live to trigger the changing of the media. A separate channel in live let the same set of MIDI notes trigger a sound.
I am planning to expand this whole concept in the near future.
The other small project I worked on was an idea that I had a very long time ago that just needed to be done: to create an inverted shadow. The result is another step in my counter series, counter.shadow I. The piece is also time based, with an audio track. It has been documented with video but I still have to finish doing this.
For now, I have another Berlin Mapping workshop coming up at the end of the month that is booked up. Look forward to meeting those that registered.
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.
The above photo was posted on our Facebook page a few days ago. One of the comments to accompany the post was a disbelief that MadMapper could be involved in such a large scale project. What this person did not know was that I had an article scheduled for this week containing text from the persons involved that explained the project in detail. The following was written by based Rafael Pereyra of Visual Lab and Luis Barrera of Anatomico with some slight corrections and editing by me.
<< begin >>
MadMapper, Who said protection mapping only?
One of the most common issues with vjing in a large video workspace is the arrangement and optimization of the video signal outputs for LED processors.
If you use a Mac Pro you can maybe have a chance to manage the output video signals because of the multi output feature and Modul8. But you must map each output to fit the desired pixel space in your composition. Large stages require more than an single 4:3 or 16:9 composition, sometimes they require 9:1 or some kind of custom pixel space, mixing more than 2 layers of video along with some cameras, that increases the CPU and GPU usage, compromising your performance.
One great solution we experienced two weeks ago at Viña del Mar Festival. The festival is one of the most important music shows in Latin America, and we used of MadMapper. The show was in charge on MADIS (www.madis.cl), the most experienced stage designing company in Chile, working with Visualists Anatomico and Ju Quezada (www.anatomico.cl).
The festival holds more than 700 m2 of LED panels, 8 LED Processors, 2 Hi End Catalysts systems, a Mac Pro running Modul8 and MadMapper, a incredible render farm of 6 machines rendering a pixel space of 9000 x 1000 in realtime at 60fps, rendering algorithmic visuals programmed by a software called MAMBO made by Proyecto LED from Chile. The experience with MAMBO was awesome, managing a huge pixel space in realtime. Everything was controlled with 2 Lemurs and 1 iPad running the Lemur software.
All this video converged onto a Vista Spider System with 8 by 8 SDI inputs and outputs. One of the big challenges of the show was to convert the huge LED pixel space in one single SDI video signal for all the LED Processors, reducing use of simultaneous outputs for the LED processors. It was a huge remap made by software.
All this video converged onto a Vista Spider System with 8 by 8 SDI inputs and outputs. One of the big challenges of the show was to convert the huge LED pixel space in one single SDI video signal for all the LED Processors, reducing use of simultaneous outputs for the LED processors.
So, what does all this mean? Perhaps these images will provide a better illustration of what was achieved.
And now here is the schematic view of the LED arrangement of the Backdrop.
It is very important to respect the space between LED modules and the gap.
The following graphic illustrates how the gap works in relation to the Modul8 output:
This is what is displayed without the gap:
With gap you can tell the difference, the separation between modules is respected by the software arrangement. So it look natural respecting the spaces and gaps.
We had the change how we used the software for Morrisey´s show and remap a virtual pixelspace in Modul8 using a Syphon output of 9000 by 1000 pixels and remap it to a single SDI output of Full HD with MadMapper. The technical crew was amazed how easy and quick it was for us to do the setup. We used more than 400 quads.
And another screenshot with the MadMapper interface with both the input and preview windows:
<< end >>
This is not the only instance where our software has been part of a much larger workflow. Modul8 has been known to partake in very large festival setups and live broadcast environments. When you have such highly complex setups, it’s nice to have one or two things be simple.
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.
This was picked up by Boris while searching around vimeo. The author, Mike Todd claims to have used up to 300 layers. A nice installation for ones own living room. It is too bad we do not have a sense of the scale.
A passage way at the 2011, Korean International Art Fair contains sculptures shaped like a crystals. Live cameras capture the viewers and the video is projected onto the surfaces of the crystal shaped sculptures. It also appears to be that the images projected are moving around on the surfaces so as to further break apart the image.
Planning – Kiheon Shin
Design – Kiheon Shin, Youngho Lee
Visual Programming – Youngho Lee
As summer rolls on Obscura has been working hard to keep things bright and exciting with an installation using triangles suspended above a stage. The documentation shows the amount of work involved in realizing such an effort, the MaMapper doing its part to make the whole process a little bit faster and easier.
An appropriate follow up to yesterdays post: The artist Bego M. Santiago is a vital part of the Niño Viejo is a collective. What inspires me about this Spain based collective is that they merge the usual VJing and commercial work with socially conscious art projects.
I was delighted to know that the Lunchmeat Festival in Prague invited Niño Viejo to do a special installation. I had performed at the first edition of Lunchmeat last year. It had produced one of the most memorable audio visual installation type performances I have ever seen.
While we are very strict about who is able to use the MadMapper prior to its release an exception was made and we are very happy with the results.
Sergi Palau of Niño Viejo writes:
The Lunchmeat Festival from Prague invited NiñoViejo this ddition for a 2 weeks residency to make a project for the festival.
Our project consisted of 16 panel, 3 meters tall and 1 meter wide with separations separated in-between them, so that they worked like independent screens and completely covered the back of the stage.
The images that we projected were on the human body in movement and mapping the panels we could use them like a complete screen or 16 independent ones that allowed us to deconstruct and then construct these bodies in movement.
With 3 projectors and a matrox triplehead we could cover the 16 panels, and with MadMapper we could map all these panels in many different ways with the result that with the same image we have several different looks: sometimes seeing the complete and normal picture acros the 16 panels, another times deconstructing the picture, fragmenting and repeating, in mirror, like a kaleidoscope, a videomosaic, etc.
Madmapper turned out to be a tool of incredible facility and versatility of handling and configuration, and, simultaneously, of a superb performance, since you could infinitely repeat the mapped quads without affecting the performance of the videos even working with high resolutions.
As you all know by now, the official release is set for May 26th at this years edition of the Mapping Festival. We are looking forward to this date just as much as you.
For the Nuit Blanche 2010 festival, 1024 Architecture designed a 20 tons scaffolding structure built on top of the Saint Louis Bridge, downtown Paris. Part of this project was included in the initial prototype that was used for developing the MadMapper. The show consisted of a 12 minute looping audio reactive visual set.
Mid last month my friend fRED was approached by some colleagues of his to create an installation for one night in a new working space here in Berlin called House Of Clouds. There idea was to have an open house followed by a party to promote the space. For fRED and I to work together, an opportunity to have a free creative hand, test out the MadMapper and work with another friend, ElectricKettle who does breakcore music but has been interested in collaborating with me on something for a long time.
Prior to this project fRED and I did some VJing together and when the MadMapper emerged for me in its incubative form he used it at this years Chaos Computer Congress. He and I were both interested in using wood. I have seen this used before. MXZEHN explored this type of material and I had seen other examples, namely a huge structure created in one of the previous editions of Burning Man. The above photos is almost all I have of the structure sans the projections on it as I did not stay for the event due to a heavy workload at the time.
fRED and I reviewed the photos provided by House Of Clouds and decided on a particular room, the one pictured above. We liked the stage and the distances from it to the walls appeared to be appropriate for the distances that were needed to get a decent projection on the sculpture I had in mind.
Our initial impression of the room was dictated by photos provided. If there is no person standing in the space while the photo is taken, and there wasn’t then one can have no sense of proportion. When we finally got to see it in person it was a lot larger then we thought and I was a little worried that the sculpture I had in mind would be too small.
We measured the entire space using a handy little laser measuring device from BOSCH. I highly recommend getting one of these. Gone are the days when you have to use a measuring tape where someone has to hold the other end. Just place the base of the BOSCH device on the wall, press a button and the laser measures the distance between the two walls.
With these measurements fRED created a 3D model. The above is a rendering that helped up pre-visualise what we were getting into.
Conceptually I really wanted to work with a free standing structure with horizontal and vertical lines. I knew that visually, because our eyes see things in perspective, that it would still be chaotic looking. I also wanted to break away from the one point perspective and allow people to walk around the structure and look at it from various perspectives. That there are no large surfaces was part of my desire to move away from the ‘image’ projected on a surface akin to film and allow the viewer to create their own ‘image’ by observing the structure as it was transformed by light and sound.
I also was not interested in performing with the installation. I wanted to see if we could create an engaging and dynamic enough experience that was a video loop where nobody would realize it was a video loop. An ambient room that will allow people to stay there for a bit, go away, come back and never realize that there is a beginning, middle or end.
While we were working on the model met up with ElectricKettle and I discussed some of the sounds I wanted him to create. I had some specific ideas, sounds that would accommodate the impression I wanted to give that the structure could disappear and reappear. I demonstrated these ideas of sound imitating what I had in my mind to him: ‘whoooooosh…. boooo’ and so on.
We were lucky to have the space three days prior to the date of the event. The first day we would build and set up the projectors, the second day work on the mapping and the animations and the third day, the day of the installation, we would put in the finishing touches.
By using exact measurements from the 3D modeler we were using fRED was able to somewhat accurately recreate what we had visualized and in the end the sculpture appeared to fill the space more then we thought with a few minor alterations due to the throw of the projectors we had not being wide enough.
The MadMapper made it extremely easy to do what we wanted to do in a fraction of the time it usually takes to do it. During the night the shelves we created for the projectors ‘settled’ and while it was still a bit of work it was not nearly as much work if we had used any other tool I can think of.
Production wise I used a traditional compositing animation tool that I will not name here. The above is a frame I grabbed of how we created the file so that we could create segments of color and form that we would use as sources in MadMapper. It was a rather abstract way of working that was a nice exercise for the mind that thankfully created a sensation in the final output, that is, what was projected onto the sculpture. In a previous installation I used a whole series of loops and triggered them using a timeline in Ableton Live with two MacBook Pros, the network module slaved to the more powerful laptop of the two I had. The problem with this was that inevitably the audio would not sync up properly with the triggering of the loops. The audience did not see it, but I did. Since I did not want to work with loops I went for creating big video with audio so that nothing would go out of sync. Having a Mac Pro It also made me think of how I really need to think about some better tools for this kind of thing.
We used up to 150 quads for this project. I am not sure if anyone else in our internal test team has done this, and it definitely was not part of any particular goal. The main goals being to create a work made entirely by the members of the collaboration, to get as much of the piece ready given the time that we had and still create something that people could experience without noticing any particular beginning, middle or end, and finally document it properly.
This documentation process is very important to me. For me it has always been difficult to get it right. I took a lot of time lapse photos, but I also took a lot of video footage. In the end the time lapses were much more befitting the vision I had. I was not so much interested in trying to replicate the experience as I don’t think that is really possible, but more to create documentation that was an art piece in itself.
I think I could probably write a whole lot of ideas here about the project, but this has already gone on much too long.
Now with this project behind us we have learned several things. First, I have found a team of people whom I can share a common vision with, each of us know our roles and how to best fulfill them. We also all have an excitement and vision of what we want to do when we get together again for the next project. One experience will build on the next and I look forward to sharing it.