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A los que no estaban atentos les aguaron la fiesta.
Marcha por la legalización de la marihuana. 7 Mayo. Santiago, Chile 2011.
Lovebytes - Digital Spring.
Pixilation workshops in the Sheffield Children's Library, led by Melvyn Ternan and Ivana Sereno Teres.
Part of UNQUIET : Art and music events at Sheffield's Central Library
Sat 24 March 11am-4pm
Sheffield Central Library, Surrey Street, Sheffield.
Sheffield Central Library provided the venue and inspiration for a spree of artistic interventions, impromptu performances and creative workshops:
Sheffield Library's documentation from Unquiet (requires Flash):
Reactable
The Reactable is a revolutionary new electronic musical instrument, designed to create and perform the music of today and tomorrow. It combines state of the art technologies with a simple and intuitive design, which enables musicians to experiment with sound, change its structure, control its parameters and be creative in a direct and refreshing way - unlike anything you have ever known before.
Juxtavoices
Juxtavoices is a large 'antichoir' under the direction of composer Martin Archer and writer Alan Halsey. The group includes many familiar faces from Sheffield's leftfield music, poetry and visual arts scenes. Although the group performs structured scores, no fixed pitches are ever notated, and the group uses improvisation to shape the detail of the scores as the music progresses. Both trained and untrained voices are included. As well as playing "normal" concerts, the group is to be found in various unexpected public places, and at poetry / text events. For this event, Juxtavoices have created 2 special pieces for performance: one in suitably hushed tones inside the main library, and one utilising the rich acoustic of the adjacent stairwell.
20Hz by Semiconductor
05.00 minutes / HD video installation / 2011
20 Hz observes a geo-magnetic storm occurring in the Earth's upper atmosphere. Working with data collected from the CARISMA radio array and interpreted as audio, we hear tweeting and rumbles caused by incoming solar wind, captured at the frequency of 20 Hertz. Generated directly by the sound, tangible and sculptural forms emerge suggestive of scientific visualisations. As different frequencies interact both visually and aurally, complex patterns emerge to create interference phenomena that probe the limits of our perception.
20Hz is a Semiconductor work by Ruth Jarman and Joe Gerhardt.
Audio Data courtesy of CARISMA, operated by the University of Alberta, funded by the Canadian Space Agency.
Co-commissioned by Arts Santa Monica + Lighthouse for the Invisible Fields Exhibition at Arts Santa Monica, Barcelona. 2011-2012. Supported by the British Council.
Catalyst
This sound installation in the Lending Library presents a series of collaborative works by a number of Sheffield based writers and sound artists.
In 2011 composers from the University of Sheffield Sound Studios (USSS) were asked to produce a work drawing on Brian Eno's concept of 'ambient music' - music that could be subtly diffused into the atrium space at Bank Street. These compositions were played throughout the day and the writers spent an hour free-writing in response to them. These initial responses were then developed into poems by the writers and then were recorded reading their poems. These sound recordings formed the source material for a new series of compositions - in some cases settings of the poems themselves, in others more abstract manipulations of the source material.
Catalyst is a collaboration involving Bank Street Arts' Poet in Residence Angelina Ayers; writers on the MA Writing at Sheffield Hallam University; Bank Street Arts Resident sound artist Ian Baxter and fellow composers working from the USSS.
Animation/Pixilation Workshop
Children's Library session beginning 11am, 12pm, 2pm and 3pm (4 x 45min workshops)
Age 6+ Free. Book in advance / places are limited.
To book a place email - kidsandteens.library@sheffield.gov.uk
or tel. - 0114 273 4734
Come and have a go at animating...Yourself! Pixilation is an exciting form of animation where everyday objects and humans are the made to do extraordinary things such as disappear into walls, change into other people, fly, get eaten by black holes and ice skate on carpets!
In this workshop you'll learn how to make use pixillation to create animated films. You and your parents or carers will also find out how to film animation at home using your home computer, a webcam and free software. No experience or equipment necessary - just bring yourself! The workshop is led by Melvyn Turnan - you can see his films at www.melmation.com
Places are very limited, so please book in advance to avoid disappointment.
Sssh! There's going to be a FREE secret film show for kids at 1PM, somewhere in the Library...
Are spy pigeons and lost mechanical aliens your kind of thing? Do you know a cat who belongs to Simon? (or is it a Simon who belongs to a cat?)...
You can only find out the secret location for this screening when you collect a free golden ticket from our information desk in the Winter Garden. Make sure you get there early, it's first come first served and there are only a few places available for this extra special, hush hush event for those in the know. The films are suitable for any age but children must be accompanied by an adult.
These films are 100% guaranteed to totally amaze you... here's a sneak preview of what you will see...
The Lost Thing by Andrew Ruhemann & Shaun Tan (Passion Pictures, Australia 2011). This film won an Oscar for best short animated film in 2011. A boy finds a strange creature on a beach, and decides to find a home for it in a world where everyone believes there are far more important things to pay attention to.
Pigeon Impossible by Lucas Martell. This amazing bagel bite-sized adventure was 5 years in the making. It's the tale of Walter, a rookie secret agent faced with a problem seldom covered in basic training: what to do when a curious pigeon gets trapped inside your multi-million dollar, government-issued nuclear briefcase?
Love Over Goldfish by Janet Jennings and Jon Harrison. Have you ever seen a movie that is upside-down from beginning to end? Well the star of this film has, he's lived it! He's a goldfish and this is his life story. Love Over Goldfish was filmed in Sheffield, see if you can spot any familiar locations (but don't get a crick in your neck;)
Thanks to all the staff at Sheffield Libraries for hosting this event.
Special thanks to:
Emma Croft, Sarah Hogan, Martin Dutch and Andrew Milroy at Sheffield Libraries, Martin Archer and Juxtavoices, Ian Baxter (Catalyst), Sergi Jordà (reactable), Sheffield University Sound Studios, Passion Pictures, Lucas Martell, Flatpack Festival, Amber and Joab Harrison
Technical wizards: Darren Chouings (Prism), Melvyn Turnan (Melmation), Richard Bolam (RB Digimedia).
Lovebytes 2012 - Digital Spring
A Festival of Art, Science and Technology
22-24 March
Sheffield UK
Her Majesty’s Theatre in Ballarat’s Lydiard Street is one of the most intact, commercial nineteenth century theatres in Australia. Originally opened as the Ballarat Academy of Music in order to avoid the negative moral connotations associated with theatres at the time, Her Majesty’s was completed in 1875 to a design by architect George Browne. The Academy had a flat floored auditorium suitable for respectable dances and dinners, and a fully equipped stage. It was built to supersede Ballarat's Theatre Royal (built in 1858), which stood in Sturt Street. While very grand, the Royal had become outdated and no longer met the technical requirements of the touring companies.
The Academy was built by the wealthy Clarke family at the initiative of a group of local people who felt that Ballarat, as the premier city of the Victorian goldfields, should have a theatre worthy of its status. They guaranteed to rent it from the Clarkes at 10% of the construction cost, which was £13,000.
Built over a disused mineshaft, the original timber theatre initially comprised a theatre with rectangular auditorium, a steep lyre-shaped gallery, three entries leading to separate parts of the auditorium and two shops facing Lydiard Street.
Ballarat's handsome new theatre was ready ahead of schedule, and was opened on 7th June 1875. The first production was a comic opera by the French composer Lecocq, "La Fille de Madame Angot," presented by the Royal Opera Bouffe Company run by W. S. Lyster, Australia's first opera impresario.
Soon after the Academy opened, the large Supper Room above Lydiard Street was leased to William Bridges, a former miner, who ran it as an art gallery, displaying an excellent collection of European and Australian artworks, including his own tapestries. After Bridges moved his operations to Melbourne in 1883, the Ballarat Fine Art Gallery was formed. The Gallery Society ran the Gallery from the Academy from 1884 until 1890, when the present Art Gallery in Lydiard Street North was opened.
For the next twenty five years, the Academy of Music was unchallenged as Ballarat's main theatrical venue. It was never as popular as the old Theatre Royal, however, as the rather cavernous hall lacked the intimacy of the older playhouse. In 1898, when Sir William Clarke died, the building was bought by a local consortium and transformed into the delightful theatrical space we know today.
The new owners commissioned Australia's leading theatre architect, William Pitt (1855 – 1918), to remodel the interior and improve the stage facilities. William, who had been apprenticed to George Browne, also designed Melbourne's Princess Theatre amongst many other buildings. The present layout of the auditorium with sloping floor and double balconies, is Pitt's creation. The colour scheme is a recreation of the interior decoration undertaken at that time by Hugh Paterson, one of Melbourne's leading designers.
Paterson also decorated the dome and proscenium arch with murals. The mural in the dome depicted a carnival scene, with dancers in fanciful costumes; Comedy and Tragedy were featured on either side of the proscenium arch, with Shakespeare over the top. Unfortunately all the murals were destroyed in 1907 when Government regulations required the proscenium wall to be replaced with a solid firewall. The dome was removed at the same time for structural reasons, and was restored in 1990. The Dress Circle Lobby also dates from 1907.
The 1898 theatre was constructed in brick with timber roof construction sheeted with iron. The main body is brick with piers both inside and out. The hipped trussed roof covers both the three-level auditorium and the stage with dressing rooms below. The ground floor and foyer have been considerably altered at various times but the auditorium and stage structure are original as is much of the auditorium ceiling and pilastered walls. The roof over the stage also dates from 1875 and the later inclusion of a fly tower stage in 1898 is fitted around the original trusses. The flying system is the only manual (non counterweight) system in existence in Australia. In the auditorium roof there appears to have been two domes, a small one dating from before 1898 for which the horizontal shutters and tube structure to a former sliding ventilated roof are still in existence. When 1898 dome was removed a false octagonal ceiling was fitted in its place. Internally the circle and gallery levels are horseshoe shaped in plan and are carried on cast iron columns. The balcony balustrading is swag bellied and decorated. It is believed that the wall pilasters, panelled ceilings and proscenium are original decorations and some traces of art nouveau decorative motifs are to be seen where later alterations have been made. The two balconies were constructed in 1898, but one balcony front is the reused 1874 front while the second was made to match. The balconies and cast-iron supporting posts are typical for auditoria design in the late Nineteenth and early Twentieth Centuries. The double balcony, supported on columns, is now the last of this form of theatre in Victoria. The facade of this building is two storeyed in height with stucco ornamentation in a somewhat florid Classical style. The upper storey windows are round headed with archivolts supported by slender columns as are the two ground floor subsidiary entrances. The highly decorated curved entrance has now been lost. The ground floor facade has been much altered and a street awning has been added. The first floor facade is intact but the parapet balustrading and ornamentation has been destroyed.
From the First World War on, the Theatre was increasingly used for cinema presentations. A Bio Box (projection room) was built above the Dress Circle Lobby in 1916, and the Theatre was wired for sound in 1930. In 1928, the Hoyts cinema chain took over control over the building through its local subsidiary, Ballarat Theatres Limited, which ran Her Majesty's in tandem with the Regent Theatre (purposely built as a cinema).
In 1936, Her Majesty's was leased and operated by Ballarat Amusements, part of the Woodrow Distributing Company, presenting MGM and Paramount movies. Ballarat Amusements ran it until the early 1960s.
During the silent movie era, a theatre orchestra provided the film accompaniment. The Ballarat Theatre Organ Society installed the Theatre's Compton Theatre Organ in 1982.
Even when Her Majesty's was primarily a cinema, it was always available, to a lesser or greater degree, for live performances. It was used regularly by J. C. Williamson's and other touring companies as well as local groups. Throughout the 1940s and 1950s huge crowds came to see the annual pantomimes staged by the Wavie Williams Pantomime Company. For the last forty years, the Theatre has been used to stage locally produced musical comedies.
Television came to Ballarat in 1962, and had an immediate impact on attendances at the local cinemas. Ballarat Amusements decided to cease screenings and Hoyts put the building on the market.
In 1965, the Theatre was bought by the Royal South Street Society as the home for its Annual Competitions.The Bolte State Government gave the Society £20,000 towards the purchase price and a further grant towards the adaptation of the building for the Competitions. Further assistance towards both purposes came from local businessman, Alf Reid. It was clearly understood at the time that the Society would be managing the Theatre as a community facility.
The Society renamed Her Majesty's the Memorial Theatre, a move which made donations to its renovation appeal tax deductable.
The Society was unable to adequately maintain the upkeep of the building, however, and gifted it to the then City of Ballaarat in 1987, reserving the right to hold competitions in the Theatre every year between August and November.
The City of Ballarat undertook a major renovation, seeking funding from a wide range of businesses, individuals and organisations. The Theatre reopened as Her Majesty's on the 1st of November, 1990.
photos of this series flic.kr/s/aHsjGcjoVd flic.kr/s/aHsjGfa8xJ
Saturday,. June 22. 2013 - external `technical check´ for the Jiu-Jitsu athletes from the Sports clubs: "SF Wüsting-Altmoorhausen", "TuS Bloherfelde", "PSV Oldenburg" and "VfL Rastede", in Wüsting / near the city Oldenburg, in the State Lower Saxony, Germany.
Ju-Jutsu Gürtelprüfung am 22. 06. 2013 beim `SF Wüsting-Altmoorhausen´, mit dabei der `TuS Blohrfelde´, der `PSV Oldenburg´ und der `VfL Rastede´.
Before the days of CGI, Photoshop, and digital cameras, "state-of-the-art" animation and visual effects work was done with huge bulky camera rigs, outfitted with motion control systems that allowed the rigs to precisely move about whatever needed to be filmed...be it a model spaceship, flat artwork, or an actor on a set.
The rig shown here is the camera section of a Master Series Animation Stand made by Oxberry, LLC.
By swapping out a couple of the internal movements, this particular camera could shoot 16mm, 35mm-4 perf, and 35mm 8-perf motion picture film. It also had the ability to "bi-pack" 2 pieces of film through the camera gate at the same time for simple optical printing purposes.
This is the actual camera system I started my visual effects career with at a small studio in Portland, Oregon called An-Fx Productions. We specialized in motion graphics and character / cel animation. I worked there until 1987, and shortly after took over the space myself...and since then have operated my own studio. Now a days though I do everything digitally using various computer graphics software packages.
There are a few camera systems like this still in operation, but very few. It's a product of a bygone age.
Copyright © 2012 by Craig Paup. All rights reserved.
Any use, printed or digital, in whole or edited, requires my written permission.
The National Ignition Facility's complex operation, alignment and diagnostic functions are controlled and orchestrated by the integrated computer control system. It consists of 300 front-end processors attached to nearly 60,000 control points, including mirrors, lenses, motors, sensors, cameras, amplifiers, capacitors and diagnostic instruments. The shot director must coordinate all 14 NIF subsystems when preparing for a shot.
Final version of the two trains for the layout of 2017.
One train has color dark blue and the other dark red.
Sgt. 1st Class Ivan Alvira, the provost marshall noncommissioned officer in charge with Headquarters and Headquarters Company, 1st Brigade Combat Team, 1st Cavalry Division hands a Bulgarian troop a riot shield in Hohenfels, Germany, Oct 29 (U.S. Army photo by Sgt. Alexander Skripnichuk, 7th Mobile Public Affairs Detachment).
The controls for the whole system are the three white units at the top. They are controlled by the bose controlspace processer (located lower in the rack, see the other pic).
U.S. Air Force Lt. Col. Jesse Arnstein processes through the contamination control area as part of a training scenario during an Operation Readiness Exercise on June 22, 2013. Arnstein is assigned to the 177th Logistics Readiness Squadron. The exercise, lasting four days, tests the preparedness of the airmen to deploy and do their jobs during a wartime environment. (U.S. Air National Guard photo by Tech. Sgt. Matt Hecht/Released)
Controlled fires are set in Spring and Autumn to reduce the leaf litter and fire load in our forests. This helps to reduce fierce wildfires in summertime during the hot time of the year.
Prepping Nikon Picture Control types for use:
1. Using the Picture Control Utility in View NX2, for each Picture Control create a variant, with the following settings, (adjustments set to Manual in the Picture Control utility):-
Sharpening = auto
Contrast / Brightness = auto
Saturation = auto.
Note you first click the "Manual" button (to enable customisation) then proceed as follows
2. For each Picture Control type, name each (and save) as follows:-
Standard = as "Standard auto" variant
Portrait = "Portrait auto"
Etc. so that you have an auto variant for each Picture Control type, to get you started using them, in VNX2.
You can Export these pre-sets to your camera via SD card, refer to the help (ticked on the schematic.)
Once you have saved all the 'Auto' variants for each Picture Control type, then you can start to process your NEFs, using these saved custom settings. You can do this in the field when out shooting, or post the shoot, in VNX2 / CNX2.
Double click a NEF to bring it into the Edit window - then view the camera applied Picture Control type, then decide if you want to change / experiment.
You will or should notice a dramatic improvement in quality.
You will most often find very little extra sharpening is required.
N.B. Don't start messing around with curve customisation, until you know what you're doing and have built up experience with the customisation I've outlined at the top of this posting.
One of the best in Chicago, Ground Control is a top notch Vegan / Vegetarian Restaurant by Logan Square. The nwhen you're done make sure you stop by the bakery a few doors over for the biggest, freshest, best priced cookies you can possibly imagine!
The complex operation, alignment and diagnostic functions of the National Ignition Facility at Lawrence Livermore National Laboratory are controlled and orchestrated by an integrated computer control system. It consists of 300 front-end processors attached to nearly 60,000 control points, including mirrors, lenses, motors, sensors, cameras, amplifiers, capacitors and diagnostic instruments. The shot director must coordinate all 14 NIF subsystems when preparing for a shot.