By GarageCube Free to try. Developer's Description. By GarageCube Modul8 is a revolutionary MacOS X application designed for real time video mixing and compositing. Modul8 VJ is a revolutionary MacOS X application designed for real time video mixing and compositing. It has been designed for VJ and live performers. Modul8+2+6+crack Crack, modul8+2+6+crack Serial, modul8+2+6+crack Keygen, Direct Download Results Download modul8+2+6+crack from Filesrvers or from Archive. Modul8 Crack Mac Modul8 Crack Mac.

Modul8 2.9.2 MacOSX 46.2 MB

Modul8 is software designed from A to Z for performance and real time video. It has been adopted by hundreds of users looking for a tool that is extremely responsive, flexible and easy-to-use. Used in domains as diverse as veejaying, contemporary art, live performances, theater and video production this software has proven its worthiness in hundreds of projects around the globe by an incredibly active user community.

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Above all Modul8 is a user interface designed in every detail for real time video performance. It possess a flexibility that will satisfy novices as well as advanced users. Based on a layer metaphor found in many common graphics editing software Modul8 allows for intuitive real time video composition. Each change can be seen immediately in the composition making this tool the ideal software for spontaneous improvisational creativity, interactive installations or live performances.

FEATURES
– Supports almost all 2D medias including all quicktime codecs, live video capture, flash 5 animation and all the most common 2D image formats.
– Import full per-pixel transparency (as long as the media supports it).
– Works in 32 bits ARGB color space.
– Modulate in real-time all the color channels using substractive/additive factors in order to change color or global transparency level.
– Apply five different types of luma-keys to generate real time per-pixel transparency on your media.
– Advanced chroma-key support.
– Works in full resolution for both the media and the final composition. (no scale down of the resolution ).
– CoreImage and FreeFrame plug-ins support allowing the usage of hundreds of external filters.
– Real time filters for contrast and saturation that can be inversed to obtain negative effects.
– Two real-time blur filters.
– Two real-time brightness filters.
– Flexible noise filter (on color or alpha-channel).
– Three-dimensional matrix transformer.
– Map your movie on a three-dimensional patch and apply transformations like displacement mapping, reshape (sphere, cylinder), including several fill modes like wire frame or points.
– Apply sound input curves to the three-dimensional patch.
– Per-layer logical record allowing the recording and the replay of per-layer user actions.
– Global logical record that let you records hours of mix at no CPU and disk space cost.
– Render the logical record to a quicktime movie.
– Direct capture mode allowing you to render to a quicktime movie while you are mixing.
– Change the speed and the play direction of your movie.
– Set the loop mode type of your movie : normal, loop or ping-pong.
– Spatial transformation of your movie on three different axis allowing perspective, scale, rotation, translation, etc.
– Automatic motion and colorisation of the media with full control over speed, rate, space, and size.
– Automatic effects can all be combined together.
– Create tiled mirrors of your medias at nearly no performance cost.
– Link the automatic effects to the sound input.
– A global trace mode where the movie acts as painting brushes on the background.
– Live video capture that can be used just as any other media type.
– Apply time transition between media changes
– An integrated painter allows you to draw directly to your composition and even create stop motion animation.
– Movie scratch module
– Special filter module which supports per parameter animation. Can be used for all Modul8, FreeFrames and CoreImage filters.
– Very advanced multi-output system
– Flexible BPM with midi clock support, tap, etc. that can be routed to nearly any Modul8 functionalities.
– A network module to pilot several Modul8 over a local network
– Mask mechanism that can be used to apply an media as a mask in front of a composition
– Anti-aliasing (as long as it is supported by your graphic card)

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EXTENSIBLE
An advanced module architecture that let you extend the feature set of Modul8.
Fully scriptable in Python.
An integrated module editor that let you create your modules straight from the inside of the application.
An interface-builder that let you build your own user-interface to customize Modul8 with full midi/keyboard mapping support.
A script editor that allows you to test your work in real-time : change your script, see the result in the composition.
An online mechanism to share the module with other users.

PERFORMANCE
All rendering, compositing and transformation is done using the GPU of your graphic card.
All the pixel filtering functions have been optimized for optimal speed on the PowerPC and Intel processors.
The application is fully multithreaded to avoid latency between video decompression and GPU rendering. Multi-threading has been carefully balancing to obtain optimal performance on single processor machines and multi processor machines.
Mechanism to pre-buffer critical area of the movie to lower as much as possible latency between loops, media swaps, etc.
State of the art memory system with three different strategies that can be controlled by the user: decompressed in memory, compressed in memory and streamed from disk.
All the animations and effects are time based : faster is your machine, smoother is the animation.

What’s New Version 2.9.2:
Release notes were unavailable when this listing was updated.

REQUIREMENTS: MacOS 10.6 (Snow Leopard) and higher
Home Page –

Code: Select all
http://www.modul8.ch/

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A man in his 20s plans to set himself up for life after winning a huge $22.3 million Lotto prize.

The Powerball first division prize, the largest ever in the South Island and the largest to date this year, was drawn on Wednesday night.

The winner, who wanted to remain anonymous, said he did not think to check his ticket until Thursday.

“I watched the numbers circle off on my ticket. After the first couple I thought, 'that’s pretty lucky'. Then I saw all six numbers circled and lined up in a row and didn’t really know what to think – then the Powerball came as well,” the winner said.

READ MORE: Lotto winner could pay for new Central Otago sewerage

He turned to his friend to double check, who told him there was no way. 'It'll be $60 or something.'

The winner said the whole thing 'felt a little too good to be true', so he just put his phone down and went to bed.

'I woke up to a message from my dad, with a link to an article saying a $22.3 million Powerball prize had been won in Central Otago with a MyLotto ticket – that’s when I realised what was happening .. there are only so many times it can be a coincidence.'

The winner said he wanted to buy a house and some land, and 'maybe a boat'.

'The big thing for me is making sure I really set myself up for the future – this prize is an unbelievable opportunity and I am going to make the most it.'

It remains to be seen if they will donate any of their winnings to fund local infrastructure, as suggested by Central Otago Mayor Tim Cadogen on Thursday when he said the money could buy Clyde a new sewerage scheme.

Comments are closed.

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[ MadMapper ] Please tell us about yourself, your artistic journey.Who is NON Visuals & Subhaze?

[ Christian Hannon ] My name is Christian Hannon, a.k.a. NON Visuals. I’m a new media artist & director, co-founder of Subhaze Studio in collaboration with Composer Ricardo Romaneiro and the co-creator of the project Myth of an Atom (MOAA) in collaboration with producer/musician Fallen Atom.

[ M ] How did you come up with these names?

[ C ] The name NON Visuals comes from the prefix non: not: nothin: the absence of: or “not of the self.” It’s become an allegory to my creative process depicting this sensation that I’m not the one creating it. Also its the last three letters of my last name haha.

SUBHAZE: Invisible Dimensions was actually the name of an early performance in 2016 that Romaneiro & I were collaborating on with musician Vasko Duvaski & sound engineer Leo Leite. It was one of our first shows together where the main focus was performing the audio & visuals live. We were really intrigued by the space & tone we could explore together in that context and how different it was from a music performance that has visuals. Continually referencing back to that show over the years made the name stick out when we decided to name the collab.

[ M ] Who and What was an influence most to become an artist?

[ C ] Drawing pictures & images with anything I could find are my earliest memories. I was fortunate enough to have a family that really motivated me just to make things. To me, it seemed very natural. I was always intrigued by practices that involved observation, & a level of improvisation or performance whether that be a jazz musician rifting or an artist sculpting the model from life. I like this idea of questioning the nature of reality while playing with it. I always felt art & music really embodied the spirit of that. I have a strong love for philosophy, mythology, psychology, architecture, mathematics, science, & technology. “New Media Art” has become the perfect device for me to explore all of these concepts. The relationship between sound & light, human perception, as well as micro/ macro investigations, are my general subject matter.

[ M ] How did you get into Audio-Visual performance?

[ N ] I went to school for Classical fine art – painting, drawing, & sculpting the figure – but the music was always an important part of my life. I grew up going to a lot of concerts and some of my closest friends are musicians & producers. I was always envious of the immediacy of music. I wanted to have the same instrumentation as a musician but with light & visuals. Merging those two interests was finally possible in an A/V context. I tried to play bass in middle school but it never really stuck. I taught a couple of chords to a classmate in our visual arts group who would end up becoming a touring guitarist and producer. That classmate was Fallen Atom. My first exploration with A/V performance was with our project ‘Myth of an Atom.’ We were in our early 20’s; he was learning production & using Ableton and I was losing interest in traditional mediums and transitioning to computer-based art and digital media. It started off with me making animations for his music and eventually we just started creating things from scratch together. Other people saw what we were at doing at our apartment in Brooklyn and eventually I started doing live visuals for other bands, producers, & events. Soon after that led to making tour visuals for a living, but I was more interested in the unique areas of sound you could explore in an A/V context. Seeing artists like Joanie Lemercier, Tarrik Barri, Robert Henke, Ryoji Ikeda, & Amon Tobin helped show that it was possible. I was really interested in the relationship between sound, light, & space in general. Finding collaborators that wanted to explore that in different ways became the most important agenda. That’s how it all started.

[ M ] Where do you show your work mostly, corporate events, clubs, art galleries, festivals, or any other?

[ C ] Set & setting is very key for this type of work. The scale is such an important factor, especially for the visuals. Creating installations & performances is a great way to benefit from the art & music world. Generally, I show my work in more of an art gallery, music venue, or festival context.

[ M ] Tell us about your .ZIP: Unzip the Future Performance.

[ C ] Artist Cao Yuxi was curating an exhibition called .ZIP: Unzip the Future at 3LD Art & Technology Center in NYC. I had spoken with him online for some time so I was excited to see what he was up to in person. He decided to start a Live AV Series separate from the weekly exhibition and invited me to perform both my Subhaze & MOAA collaboration during that series in 2018. The following year we were invited to put a piece for each project in the exhibition rotation. That was one of my first experiences having a large scale AV installation up for the long term. It was also my first experience with floor projection which is very fun to play within both a performance or install context. He’s become a dear friend of mine and I’m happy to have him in this community of artists.

[ M ] Tell us about 4:3?

[ C ] 4:3 was an idea I wanted to do for years but it was never convenient to do. I saw that the use of translucent material and holographic effects were getting increasingly popular and I felt it was time to make it.

SUBHAZE was commissioned by the ‘House of Creatives’ Music & Arts festival 2018 in collaboration with Lucid Screen: Santiago Ramos to do another installation for our second year. I brought the idea up to Santiago and he was like “why aren’t we doing this for the festival!?” He was a key component in helping the vision of 4:3 come to life. It could be used for both live performance and installation that people could walk in. I always wanted to create a mobile immersive structure or space that could I perform the visuals within. It incorporated a quadratic surround sound system. Both Romaneiro’s and my performance is very much based on knob turning, buttons, and sliders. We both felt it carries more weight to the live aspect of our performance vs the traditional 2D screen. Having a setup that wasn’t going to change from venue to venue allowed us to hone in on the content & performance.

We also liked the idea that we could place the set-up centrally, with a 360-degree viewing angle for the audience. Being surrounded by the visuals & sound while we’re performing creates a different attitude. We make different decisions live in this context. Ultimately, we chose the name 4:3 because it embodies concepts that can be found in music & visuals that revolve around the square or cube. After we performed 4:3 for the first time, Subhaze immediately started getting more attention.

[ M ] How do you assemble your set-up?

[ N ] We generally send a tech rider that involves sound rentals & the frame is built out of basic wood & then painted. We carry our 4 projectors and custom screens. The projectors are placed on top of the frame. Eliminating the need to rig or hang projectors in the physical spaces we’re going to is very helpful. Having the visual & sound tech all in one place without the “need” for FOH has its advantages. I took a different approach to the design of 4:3 and chose what projectors I wanted to use & then designed the installation based on the projector specs. I feel that this really helped with quality control and avoiding a situation where you push the lumens to far on the projectors.

[ M ] Tell us about your performance at Artechouse?How did come about?

[ C ] When Artechouse approached me last year about their Immersive Showcase room in the Miami Location during Art Basel, I thought it was perfect for Ricardo & I to do a Subhaze Installation. We received a wonderful response from the piece that kept it in circulation there for two months. Artechouse recently started a Live AV Series and we were delighted when they invited us to perform at the massive D.C. location. Having the audience and well as the performers immersed in the AV space in a setting like that is something we’d like to play with more.

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[ M ] What do you use for your performance?

[ C ] For software, I mainly use madmapper, touchdesigner, and in some cases modul8. I use an Akai Apc 40 to midi map all my parameters & settings for the visuals. My collaborators are generally using Ableton. There are different linking and triggers we can create with both software platforms.

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[ M ] How do you use MadMapper?

[ C ] I use the software heavily for complex mapping for multi-projector setups but I also house a lot of the performance directly in Madmapper. The shader material/ editor, video effects, queue system, & video player are a huge part of my process. There are so many ways to have madmapper communicating with other software & other computers in the performance realm which makes it such an important tool. I’ve been using madmapper for a long time I’m very comfortable with the software. I took a madmapper workshop, Mappathon™ with the artist, CHiKA in 2013, I remember speaking with her about what I was looking to create and she said something to me that really stuck – “Oh! You want to be a human sensor” – and I think that really helped me understand how important the performance aspect was to my A/V work.

[ M ] What do you listen to when you work?

[ C ] Generally I’m listening to the music of whatever collab or show I’m working on repeat, haha. I really sit with the sound to see where it wants to go; I feel the sound has a motive and expresses how it wants to be depicted visually in space. That’s why I think it’s important to collaborate with people coming from the same tonal space as you or to pick a theme or concept you want to explore together. My music taste is all over the place but lately, I’ve been heavily listening to Flying Lotus, Bonobo, Shigetto, Thunderkat, & Amon Tobin. I love a variety of electronic, hip-hop, funk, soul, and ambient music for working. Sometimes I really need to zone into work, almost becoming it, other times I like to playfully dance around my studio – I guess that probably depends on the deadline.

[ M ] Any request for MadMapper future development?

[ C ] I’ve been really impressed with the direction Madmapper has been going in. I feel like every update solves something that I wanted or needed in the past. Madmapper being cross-platform (PC & MAC) with the addition of the shader material/ editor was a game-changer. I feel that continually pushing the creation of real-time content directly in the software is the move.

[ M ] Have you ever use our miniMAD?

[ C ] I have not been able to get my hands on a miniMAD yet but I feel like it would be super helpful for my installation work! I’m really intrigued by what I’ve seen and research about it.

[ M ] What is next for you?

[ C ] After working with such incredibly talented sound collaborators I’ve been inspired to create my own sound & music. My plan is to create my own solo A/V Installations & performances along with continually pushing Subhaze & MOAA. One of the most important things I’ve noticed working with projectors is at the end of the day it’s still a light source. I really want to explore light, sound, & space in general. I’m dying to get my hands on some LED by Garagecube. The capabilities of using LEDs within madmapper look incredible!

[ M ] Thank you, Christian Hannon from NON Visuals & Subhaze!

[ C ] Thank you