I’m looking at technical solutions for doing multichannel video projections that are synchronised (incl audio). What are the basic approaches and are they affordable?
Playing two or more videos from a single computer – matrox dual head and triple head
Synchronising multiple computers playing each channel – network software from Zach Poff (and much more)
Using brightsign HD players ( normally used for digital signage) for multi-channel installation.
The cheapest Brightsign player LS423. This is recomended by ZP.
This is a two channel version of a larger studio based stepper motor controller. The unit is portable and will be used for motion control applications outside the studio.
lid off- showing power supply, arduino and stepper drivers. I use the Accelstepper library on the arduino to control the steppers. Alternatively, for stop motion control I use Dragonframe which has a DFmoco sketch for the arduino..
Rotary stage in the background with Mac plugged into arduino.
Lid on – showing stepper cables, rotrary stage and usb cables.
User Manual for the stepper driver is here
The schematic I used (found on an animation motion control forum post) as a basis for the original 8 channel studio version is as below. I just used 2 channels for the portable version.
This is a 2 channel PWM DC motor controller for mobile studio applications. The PWM controllers can be adjusted by hand and are easier to control interactively than the stepper motor controller which is better for more precise programmable motion.
Spread across three floors of an eighteenth-century palazzo, this exhibition visualizes a broad question: What happens when falsehoods stand in for the truth? For this collaboration, curator Udo Kittelmann, artist Thomas Demand, set designer Anna Viebrock, and filmmaker Alexander Kluge look to the eternal worry over art’s duplicity. This time around, at issue are not the objects themselves as much as the walls that support them.
The design of the show is provocative, blurring distinctions between discrete works and a single massive installation piece. Viebrock’s stage sets from previous theatrical productions have been appropriated throughout, providing a physical frame of contingency for the other artists’ work. The ground floor offers a straightforward introduction to the artists and demonstrates how their practices address the deception of vision. First is Demand, whose video Ampel (Stoplight), 2016, features an animated replica of the titular device, nearly indistinguishable from the real thing. Nearby, Kluge’s film Die sanfte Schminke des Lichts (The Soft Makeup of Lighting), 2007, subjects actors to various lighting effects, revealing the trickery of high-definition cinema. Two doors designed by Viebrock flank the projection, one of which is an astonishingly realistic hotel lobby entryway. Seemingly accessible, both doors are locked.
The upper floors slip fully into fabrication, with Viebrock’s previously impenetrable sets now accessible as they fill entire rooms. A counterfeit cinema plays Kluge’s films; its exit leads to a courtroom where Demand’s photograph of a model of a building covered in ivy—Klause II (Tavern II), 2006—faces the stand. Wall texts are virtually absent throughout, except in one room: a facsimile museum gallery (Viebrock’s Exhibition Room, 2017) stocked with social realist paintings. Although the labels state that Angelo Morbelli painted the works in the 1880s, amid so much fraudulence they feel fake. In reality, he did paint them, but the resulting feelings of uncertainty are all too frightening in a sinking city