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In short, I did crack it, and as a collective we’ve created and performed Particle around the world. Taking stock: what made a maker business Join Toby Harris as he talks product and dissects a successful run of a maker business. How did an Arduino hack turn into £50k in pre-orders? How do you get an assembly line going if all you have is a laptop? Four production runs and a retail partnership later, what were the final accounts? Kickstarter pitches are now part of maker culture, but when do you hear back from the other side? This took on a life of it’s own, and it’s quite the story – In fact, all my peers wanted one the moment they heard it was possible. That is where the *spark d-fuser came from, a hardware mixer I hacked together for doing HD and more or less anything else a computer could output at the time.
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So how to mix this? Or what if we needed to reboot a laptop with an audience in front of us, or take away a laptop to finish prep after the soundcheck but still with hours before doors open? But nomatter how much fun I could have in the studio with this, we were still in the world of plugging the laptop straight into the projector – or rather, the laptop that output a non-standard 1920x480, which a splitter box then made into 3x 640x480, from which the three projectors were fed. Mike had seen what I’d done elsewehere and liked it. That was the kind of stuff I’d been brought into D-Fuse to do. Laced audio-analysis through it all, hooked up midi-controls, and exposed the functionality as best as could be done: custom VDMX UI, lots of Quartz Composer beneath.
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The expansion of the frame into the theatre was by simply doubling the 4x3 source up: one vj setup of dvd player, loop-playing laptop and mixer, gained a twin, and the two outputs were projected side-by-side.įor me, the challenge was clear: to shift that experimentation from the studio into the performance space. In D-Fuse’s previous live show, the experimentation happened in the studio, using motion graphic tools like After Effects to create clips and sequences that could then be played out live.
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The subtext was: this is all HD footage, and nobody has yet cracked how to work high-def live. Mike gave me the hard drive with all the Endless Cities footage, and said “let’s make a live show of this”.
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Both images and sounds have been broken into fragments and then reconfigured, in a parallel to the data flows that permeate the urban fabric. Particle is concerned with processes of abstraction. The source material for Particle is from a pool of video and sound collected across the globe for the D-Fuse documentary film Endless Cities. Particle creates an arresting, dream-like vista of a city that exists as much in the virtual as in physical space. Processed urban imagery fluctuates between recognisable urban landscapes and abstract, data-like patterns, combined with dense sound textures, layered harmonies, abstract rhythms and snippets of found sounds. Particle strips back the visual façades of the city to reveal an immaterial web beneath.