Tag Archives: audio

Caridad Botella ‘s Sunday Matinees Witzenhausen Gallery Amsterdam

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sunday matinees ed. 06 @ witzenhausen gallery 2012.
a series of online&multimedia events hosted @ witzenhausen gallery amsterdam; curated by caridad botella
29 july from 3 p.m. till 6 p.m. (cet)

follow the event live on:
http://www.livestream.com/witzenhauseng (copy link and paste it on your browser)

follow us on:
http://www.facebook.com @ groups witzenhausen gallery ams/ny
http://www.twitter.com @witzenhauseng
http://www.sundaymanitees.tumblr.com

participating (in order of appearance):

rod summers (1943) is a sound, visual, conceptual artist, photographer, performance poet, dramatist, mail artist and book artist, publisher, archivist, and lecturer on intermedia. born in dorset (u.k.), he is based in maastricht (nl).

raul marroquin (1948, bogota, co) lives in amsterdam, he is working with video since 1968, one of the pioneers of european video art. currently working with user technology, low-tech., online performace and livestreaming channels. he is the director of hoeksteen live television in amsterdam.

yolanda duarte is a venezuelan performance artist working and living in bogotá. her work is a reconstruction of diverse migrant cultures, those who preceded her and form her heritage. her work is a continuing tribute to the memory, the environment and the building of both.

alejandro ramirez, bogota (co). visual artist, filmmaker, and photographer with knowledge in cg (computer graphics). currently exploring and working with sensor technology, mobile devices, arduino and augmented reality.

emilio barriga (bogotá, 1977) is a visual artist interested in generating contents and reactions from still and moving images, sounds and original or imported ambiences. emilio grew influenced by the scope of arts to which he was exposed by his parents and grandparents in areas such as film, photography, literature, video, music, design and painting. in his teens he began to take photos and play in rock bands. this gives him the elements to decide studying social communication at the pontificia universidad javeriana of bogotá. there he begins his relationship with the production of video which blends the areas he is most passionate about: photography, music, narrative and aesthetics.

kai steamer, (bogota co)
visual artists and graphic designer, has been working on digital collage for several years, currently as a performance artist in second life, member of the contemporary art and performance simulator “odyssey”, also works with installations in both physical life and second life.

sunday matinees offers a multidisciplinary online platform for those -artist, writers, poets, journalists, filmmakers, etc- who would like to share their work through a livestream channel. the performances take place both at the gallery space or elsewhere in the world (mostly the latter). all the content is announced on social media platforms and is widely documented, forming an archive that comes together in blog http://www.sundaymatinees.tumblr.com. with sunday matinees i want to make use of the world wide wed, user & low tech and live-streaming possibilities as a prolongation of the gallery space in order to bring together a varied number of projects from all over the world. the gallery space is important both physically and as online channel (especially witzenhausen gallery which has always been open to new forms of art and distribution). moreover, i want to communicate with an audience who is not physically at the gallery but who can spend a sunday afternoon with us, not only as onlooker but also as an active spectator who can communicate with us through the livestream.com chat. this form of online programming and information sharing through the social media is the seed of future forms of television. with the term “matinee” i refer to the literal meaning of the term: a musical or dramatic performance or social or public event held in the daytime and especially the afternoon.

at:
witzenhausen gallery
hazenstraat 60
1016 sr amsterdam

for any additional information
please contact caridad botella at
caridad@witzenhausengallery.nl or caridadbotella@gmail.com

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BBC not yet ready to abandon analogue radio

Newsline

by Chris King

The latest figures reveal that digital radio listening is growing by 11% year-on-year, and 29.2% of all radio listening takes place through DAB devices, online or via digital TVs.

Of all digital listening platforms, DAB remains the most popular, constituting 65.2% of all digital hours; digital TVs make up 8% while online listening reached 7% in the Q1 figures for this year.

In order for a “digital date” to be mandated by the government, the digital figure must reach 50%. Some analysts have predicted that the digital adoption date could be as late as 2020, having originally been predicted for 2013 and subsequently 2015.

The BBC has confirmed that it will continue to provide analogue transmissions, with the government yet to decide upon a date for the adoption of digital radio.

Tim Davie, BBC director of audio and music said: “We should be selling radios with DAB and FM [reception] so that they are future-proof”, speaking at a digital radio conference in London.

Adding that the case for digital is becoming clearer, Davie underlined the need for radio manufacturers to continue to include analogue reception in newly-built devises.

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NAB 2012 Las Vegas Digital Rapids

www.digitalrapids.com

Digital Rapids provides innovative solutions, technology and expertise that enable media organizations and professionals to bring live and on-demand video to wider audiences more efficiently, more effectively and more profitably. Our award- winning hardware and software solutions span the critical points in today’s media operations, including ingest, encoding, transcoding, streaming, broadcast and workflow automation. We’re bringing our complete lineup to the NAB Show in booth SL5624. Featured demos will include a new version of our Digital Rapids Transcode Manager software, powered by our groundbreaking Kayak technology platform; and our newest live encoders for blending ‘traditional television’ encoding with revenue-expanding multi-screen distribution.

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Mobile World Congress Barcelona Day 3

google-picGoogle backs high-speed network evolution

Google CEO Eric Schmidt believes the rollout of LTE networks and new cloud based services this year will mark the start of a new era for mobile innovation. “LTE will provide the platform for a set of new mobile applications that we can only begin to imagine,” said Schmidt in a special keynote session at Congress yesterday afternoon. Not surprisingly, he positioned Google’s own Android OS as at the forefront of this change. He said that Android phone activations were now running at 300,000 a day with 170 Android-based handsets currently available from 27 device vendors – making it the “world’s fastest-growing mobile platform.” He claimed that such scale made Android a compelling prospect for developers. “Developers think ‘mobile first’ because they know this is where there is scale and growth; they also go where the money is.”

 


HTC handsets storyHTC unveils ‘Facebook’ and tablet devices

HTC announced what Peter Chou, its CEO, described as ““the broadest lineup of phones we have ever announced at one time.” The company unveiled five Android smartphones plus its first tablet device, HTC Flyer. Among the updated smartphone portfolio are two devices (pictured) which feature a dedicated, “contextual” Facebook button, which has been integrated with a number of applications to enable one-touch content upload and sharing via the social networking site. One device, ChaCha, includes a QWERTY keypad as well as a small (2.6”) touch screen, while its sibling, Salsa, is touch-screen (3.4 inch display) only.ChaCha and Salsa will be available in “major European and Asian markets” in the second quarter, and HTC is also working exclusively with AT&T in the US for these products.

HuaweiHuawei unveils new smartphone and the scale of its ambitions

Huawei announced a new smartphone and an updated tablet, both based on Android, in further evidence of the vendor’s ambition to increase its presence in the high-end device market. Speaking to Show Daily, Huawei Device’s chief marketing officer Victor Xu said the company plans to ship “more than 10 million” smartphones in 2011, up from 3 million shipments last year.The vendor’s Ideos X3 is its first smartphone based on version 2.3 of the Android OS, also known as Gingerbread, and has a 3.2-inch screen. Huawei boasts the new handset’s thickness of 11.2 mm makes it “the thinnest handset on the market today”. Comparable handsets from Motorola (12.4 mm), HTC (12 mm) and Sony Ericsson (15 mm) are chunkier than the new model, claims Huawei.

 

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Five Steps for Building Transcoding into Your Workflow

 

 

Video producers in the broadcast, film and video production, and web publishing industries are seeking new ways to increase visibility and income from their videos. But each additional revenue opportunity imposes different operational requirements, including new playback software or hardware, delivery platforms, video formats, and other customizations. In some cases, device interoperability will allow the reuse of existing versions of content without transcoding. But with the hundreds of formats and variants in existence today, the majority of video files must be transcoded before submitting them to the chosen recipients.There are a wide variety of factors to consider when bringing transcoding into your workflow. A video workflow may be as simple as converting a file to the right format and delivering it. Or it may be much more complex, involving automated processes from ingest to asset management, asset management to editing, editing to various distribution points, and so forth.But whether the transcoding project is simple or complex – the same questions are relevant. Which format should I use at each step in my workflow? Which wrapper? What settings? When should I switch from a high quality format to a low quality one? Let’s examine some of the technical and procedural considerations you should think about while trying to answer these questions: How can I ensure my files will be compatible with different devices? First and foremost, you must consider device compatibility. This is the whole point of transcoding, making video files that work on the devices or systems you want to support. But even within a video file specification – and especially within broad specifications such as MXF, QuickTime, or Transport Stream – any given system or platform will only support a subset of the full specification. The reason is simple: hardware has limitations, software typically has either limitations or bugs, and from device to device these limitations will be different. You can’t simply assume an “MXF-compatible device” will magically work with all other MXF-compatible devices. You must consider and test device compatibility before designing your transcoding workflow. What information do I need to keep? Once you know what format you need, you should evaluate which information you really need to preserve. For some edit workflows, timecode and metadata are very important to the editing tasks. For other workflows, caption preservation is essential. These details can make or break a video workflow and must be addressed as early as possible in the workflow design process. How will my video file be used? Regardless of your device, different types of video formats are suited for different things. Will your file be used for editing or for transmission? You need to determine how your files will be used before developing a transcoding workflow. How will the chosen format affect video quality? There are other format nuances to consider when designing your workflow. For example, consider a video being transmitted at a constant bitrate (CBR). Typically, CBR files will have “buffer windows” – the period of time during which they guarantee a given bitrate. This window is used to let the player know how much pre-roll (the time between clicking the play button and having the video start) needs to be loaded before playback. Typically transmission methods, end-user experience, or both will determine how much pre-roll is acceptable. However, while a short pre-roll may seem like a desirable thing, it is not always the best solution. Take for example a video where the first second of video is not very complex, perhaps a still frame. But the next second is very complex, like water splashing. The challenge is the encoder must respect the buffer window when encoding! Ideally, the encoder would use some leftover bitrate from the first second to do a good job encoding the second. This will have a direct effect on video quality and can result in dropped frames. As you can see, subtle encoding nuances can have a dramatic effect upon video quality. It is worth considering both your format specifics and the type of content you are dealing with when considering your transcoding workflow design. How fast is my network and how much storage do I have? High quality, editable files are big. You need to understand your file storage limitations and network constraints. Try to pick an archival format that can be read by as many devices as possible. This will ensure that in ten years you won’t be stuck with files you cannot read. Also make sure the video is an appropriate format for how you are likely to use it. How many generations of content exist between start and finish in my workflow? Videos are typically compressed using “lossy” algorithms, which compress video by losing information the eye cannot detect. Every transcode will introduce some loss to your original. The goal is to shorten the path from original to output in all cases. Use original footage directly whenever possible to create final products, rather than having multiple generations of material. Do I need the highest quality or an automated workflow? To get the highest possible quality, you will have to encode everything by hand. Craft encoding software will give you granular control over settings and time-based compression statistics – provided you have someone who knows how to use it. If not, or if you are dealing with a high volume of content, you can set up an automated workflow. The vast majority of televised and web-enabled content is transcoded in this way. This method works because most video formats and workflows have enough bitrate or smart enough tools to maintain high quality through an automated process. What video file formats am I likely to receive? You need to think outside the actual function of transcoding to examine your incoming content. With thousands of devices, phones, edit systems, cameras, and other sources of video, you want the flexibility to support a wide variety of formats if you are planning to accept user-generated content or content from a variety of sources. Getting Started: Five Steps for Creating an Efficient Transcoding WorkflowOnce you have answered all of the questions in the previous section, the following five steps will facilitate the development of an effective transcoding workflow: Test Device Compatibility. Review the devices you plan to use and what formats they support. Test compatibility between devices directly and identify any necessary conversions. If you haven’t chosen devices yet or can’t test them, use the most commonly supported format. Test Various Transcoding Solutions. You need to evaluate a range of possible transcoding solutions from plug-ins to full enterprise solutions. This will give you a sense of what is available, what functionality the tools provide, and how easy the solutions are to use. It is also essential to test these solutions with your own devices. Review What Needs to Be Preserved at Each Step. After choosing a transcoding solution, review your workflow to determine what information you need to preserve between each step. Do you need to keep timecode between your camera and your edit bay? Do you need to crop black and perform inverse telecine before delivering? If so, review your content and tools to make sure you can accomplish these tasks as efficiently as possible. Pick Your Formats and Settings. Finally, choose your formats, tools, and settings. There are a variety of ways to check quality, but the most important thing is to find representative content for quality testing. Test Early and Often! Once you have deployed your transcoding solution, you need to test the entire ecosystem. Driver changes, version updates on devices or platforms, and any changes to your devices may introduce incompatibilities. Make sure you test early and often to ensure that lack of interoperability does not halt your workflow. SummaryIn an ideal world, transcoding can be as simple as converting the original audio/video format to another audio/video format. In a few rare cases, it is that simple. But for the vast majority of cases, transcoding is much more complicated. With careful planning and a logical, step-wise approach, you can design and implement an optimal transcoding workflow.

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De Hoeksteen Live! 2010.09.25/26

Every last saturday of the month: No-Definition TeleVision

23:00 – 03:00 CET

[ = 21:00 pm – 01:00 UTC (= 9 pm – 1 am GMT/Zulu, = SL 2 pm – 6 pm PDT ]

Real-time interactive cross-media talkshow with the usual suspects and surprise guests from the worlds of politics, arts, business, media and more!

Live from The Netherlands Media Art Instititute (NIMk), Amsterdam.

  • AMSTERDAM TVSALTO 1 (A1) -Amsterdam cable: Analog UHF 39+ / UPC Digital 970)
  • LIVE STREAMS webcasting online
  • VIDEO-ON-REQUEST immediately after every broadcast hour,for 4 weeks only!

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Antik Technology IBC (Hall 9, Booth IP632)

Latest IPTV technology developments already for the 3rd time.

Bringing to global markets our brand-new headend solution –Juice Ember Professional HD H.264 Encoder. In last months we worked hard to come with extremely cost-effective broadcast level encoder/transcoder and now there is your chance to make first pre-orders at world’s most competitive price. Save your CAPEX on analogue to digital encoding as well as on IP-to-IP transcoding, e.g. MPEG2 to H.264, both SD and HD and don’t forget to stop at our booth.

Juice Ember H.264 Encoder is a part of our strategy to bring the telco operator, ISP or content delivery providers the chance to build whole IPTV project at much lower costs it was usual before. Using our unique Multi-room (DualTV) IPTV or Hybrid DVB/IPTV Juice set-top boxes together with middleware software we provide for free inside each box and Juice IPTV Management & Archive SW will quickly bring your digital TV project into black numbers.

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Meet MARVIN at IBC

MARVIN automates the processing of camera data, generating LTO tape masters, QuickTime proxies for offline editing and DVD dailies in a single step.
MARVIN is now production ready. The first sales have been completed. New features at IBC include support for all commonly used digital cinema cameras, sync with audio, and generation of full-resolution stills for precise image checking. You can be among the first to see MARVIN in action.
Where: Booth A.38 in Hall 13

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Expand Your Audience, Increase Your Revenue and Reduce Your Costs with Digital Rapids at IBC 2010

Visit us at IBC in stand 7.G41 – September 10-14 in Amsterdam – to learn how our solutions for transforming and delivering media can help you increase your productivity, streamline your workflows and maximize the quality and value of your content. We’ll be showcasing solutions from live Web, mobile and IPTV to powerful file-based workflows and efficient, cost-saving, IP-based media delivery.

http://digital-rapids.com

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maintain the maximum quality of your 3Gb/s or HD signal when down converting Crystal Vision

Crystal Vision’s Q-Down and Q-Down-A 3G broadcast down converters and distribution amplifiers will perfectly meet your requirements!

Offering outstanding picture quality
and a short processing delay, our
range of four Q-Downs (Q-Down-A 3G, IBC 2010 logoQ-Down-AT 3G, Q-Down123 and Q-Down183)
will help simplify your system design at a
very competitive price.

Q-Down features on all versions:
Sophisticated two dimensional filtering


Distribution amplifier

Flexible output
mixtures of analogue and digital HD, and SD
Q-Down-A 3GThree fixed video delay settings
Aspect ratio conversions

Space-saving 100mm x 266mm modules
Fit standard Crystal Vision rack frames

Additional features on Q-Down-A 3G, Q-Down AT 3G:
Pass four groups of embedded audio
Option of integrated fibre input/output connectivity
Create customised aspect ratio
SMPTE 2016 AFD insertion
(and AFD reading)
Transport timecode and closed captions (Q-Down-AT 3G)

www.crystalvision.tv

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