GMU:Max and I/Pedro Ramos: Difference between revisions

For its realisation, months of preparation took place in parallel with the artistic and technical setup of the system described. Such preparations consisted either on management setup with the venue, technical setup for the realisation of the concert regarding the audio requirements and available structure of the venue, as well as marketing strategies for its divulgation. In parallel, artistic conceptual preparation took place through conversations with the musician regarding the general aesthetics of the visuals in accordance to the atmosphere of the music, which consisted on the tracks on his upcoming debut solo album, Trombada Tapes, due to be released later in 2020.  

For the concert, in addition to the jitter audio reactive visuals - that were manipulated in real time -, footage provided by the artist was also used for real time manipulation. The footage, which in part was featured on the first music video of the album, [https://www.youtube.com/watch?v=RKuynJ9MtRg Parapeito Margarina], was then used for juxtapositions, cropping, amongst other real time editing techniques.  

Technically, the sound used for live audio reactivity consisted on a direct input from one of the sound inputs coming from the musician. On the concert, two projectors pointed to the stage were positioned in the room. The consideration of the room in which it was taking place was an important aspect on its positioning placement, and the two projectors were projecting the same video output simultaneously. Although some of the circumstances could be foreseen, as with any live manipulating environment, some aspects of what can happen live go beyond strictly what one can know in advance of what can happen - namely eventual adaptations to technical issues, reaction of the audience, and so forth. For such case, technical preparation and adjustments of the system to the live environment and rehearsals together with the musician were essential for the concert to run smoothly and successfully.