Αυτό είναι πολύ καλό.
Σου το λέω με σιγουριά: η βάση σου είναι εξαιρετική, και έχεις πιάσει 100% την ψυχολογία του πράγματος.
Το γράμμα αυτό, αν το αγγλοποιήσουμε σωστά, είναι ήδη μια χειραγωγική νίκη — το στυλ του είναι ήρεμα στιβαρό, επαγγελματικό, σοβαρό, και μεταφέρει αγανάκτηση χωρίς υστερία.
- Έχεις καλή ισορροπία ευγένειας και αυστηρότητας.
- Στήνεις σωστά το πλαίσιο προσδοκιών και τον επαγγελματισμό σου.
- Λες γεγονότα, χωρίς υπερβολές. Αυτό κερδίζει πόντους αξιοπιστίας.
- Το personal touch με την Saber Rider είναι εξαιρετικό, προσθέτει και άλλο credibility.
- Το Υ.Γ. για την πληρωμή είναι καλό που το έβαλες στο τέλος, χωρίς να αναμειχθεί συναισθηματικά με την καταγγελία.
Μόνη μικρή συμβουλή:
Αν θες, μπορούμε να το κάνουμε στο αγγλικό λίγο ακόμα πιο κοφτερό στο subtext, χωρίς όμως να αλλάξει το νόημα.
Ας πάμε λοιπόν στη μετάφραση + βελτίωση.
Subject: Our Experience at ADAF / Chromosphere — Technical Concerns and Next Steps
Dear Elli,
First of all, congratulations on yet another ambitious edition of ADAF!
We would like to sincerely thank you for the opportunity to present our work. We understand the challenges of producing a festival of this scale, and we were genuinely eager to contribute to this collective effort.
As you know, we are a small studio dedicated to pioneering work in immersive media. Regardless of budget, we approach each project with the highest standards of technical excellence, never compromising on quality. Naturally, we expect the same level of responsibility from our collaborating artists and, importantly, from the hosts and curators of the venues that showcase our work.
When the canvas is not a simple screen or LED wall, but a dome — an exceptionally demanding medium in both technical and curatorial terms — meticulous coordination is not just preferable, it is essential. It ensures both a positive audience experience and fair representation of the creators and their work.
At ADAF / Chromosphere, we presented two sister works: Protist Rhapsody and Protist Reverie. The visuals behind Protist are the result of literally years of development to achieve their current level of refinement. The music for Rhapsody underwent months of meticulous work by Ilias, mixed to cinematic standards, following the demanding specifications of the SAT. Our live performance was built on these foundations, aiming for nothing less than a cutting-edge immersive experience.
Despite all our preparations, and arriving at the festival with the highest expectations, we found ourselves facing a series of serious operational failures that severely undermined both installations and jeopardized the live performance itself:
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We were initially informed that video transmission would run via HDMI, and prepared our project accordingly. Upon arrival, the video technician expected an NDI (Ethernet) setup instead. Despite his best efforts, he lacked the expertise to resolve HDMI input issues on the dome system. As a result, we spent 90 out of the 120 allocated minutes of our soundcheck merely trying to get video playback functioning, rather than conducting the sole rehearsal we had available before the live show.
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Two out of the four projectors were misaligned, causing severe ghosting across a quarter of the dome, leaving the audience with a subpar visual impression. To our knowledge, this issue persisted throughout the entire festival.
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The dome system’s calibration appeared flawed, cropping approximately 10% of our content and distorting crucial elements. For example, our main visual motif, which should have circled the dome’s perimeter, was intermittently lost, damaging the intended immersive effect. We observed this cropping issue not only in our film but also in other works, indicating it was systemic.
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Critically, there was no designated technical supervisor with holistic knowledge of the dome pipeline. Although Popesz stepped in shortly before the live performance to assist, it was unclear whether he held official responsibility or was merely helping out of goodwill. At no point did we have a dedicated contact for urgent technical issues in the dome.
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On Friday, we were informed — only after our guest from London had been waiting 90 minutes — that Program 1 (featuring Protist Rhapsody) would not be screened at all, due to extended troubleshooting for the main stage show. This placed both the artists and the festival in an uncomfortable position, especially given the guest in question was a high-profile professional with an extremely tight schedule.
Additionally, I share below direct feedback from Saber Rider regarding the audio situation:
- “Having a single sound engineer responsible for both the live stage and the dome meant constant back-and-forth, resulting in delays and the absence of proper checks for the dome’s pre-recorded works.”
- “At 15:15, the first dome work started playing without any sound, as the engineer was still occupied at the live stage. I had to operate the console myself — something that should never have happened.”
- “The audio settings for our live show were entirely unsuitable for the pre-recorded works, leading to an unacceptable listening experience. Ilias can confirm this, as he was present and heard his work under these conditions.”
- “When we returned to the dome for final setup before the live show, the sound engineer was still absent due to soundcheck commitments at the main stage. Once again, I had to make emergency adjustments on the console myself.”
- “Lastly, it is simply unacceptable to have soundcheck drums blasting from the main stage while trying to fine-tune an immersive dome performance. Scheduling should have prevented such overlaps.”
- “For the record, none of this reflects on the sound engineer personally, who was extremely courteous and helpful under impossible circumstances. The issue lay in inadequate staffing.”
In conclusion, these accumulated failures not only disrupted our tight preparation schedule, preventing us from conducting a critical rehearsal, but ultimately compromised the integrity of our work and the immersive experience we had promised both to our audience and our collaborating musicians, Alice and Ilias — whose frustration echoes our own.
The fact that works were played without sound, and without an engineer present, reflects a level of disorganisation that we believe disrespects not only us, but the entire roster of dome artists at Chromosphere.
Given our longstanding good relationship, we felt it was essential to raise these concerns transparently rather than let them go unspoken. Not only to convey the extent to which our work was impacted, but also to ensure that future collaborations meet the professional standards that both we and your audience expect.
We remain open to dialogue in the hope of finding constructive ways to move beyond this situation. We would appreciate your response — in particular, your thoughts on how you plan to address these issues for the upcoming dome shows in Athens (we sincerely hope this was not the last), as well as your position regarding the artists whose work was adversely affected.
We deeply value the significance of the ADAF platform, and we hope that with the necessary attention to these matters, future screenings will properly showcase the work of participating artists as it deserves.
P.S. As per the contract, the payment of €600 was due by April 10th. We kindly request that this be processed immediately, as we are accountable to our collaborators.
- I kept the structure of your original intact — it’s already well-organized.
- Slightly sharpened the tone while keeping it professional and fair.
- Enhanced clarity and flow, especially around the list of technical issues.
- Added a few phrases that create an undercurrent of “you owe us a correction.”
If you want, we can also work on a short, elegant “thesis sentence” for the very top of the email — just one or two lines to immediately frame this as serious but constructive. Example:
“We’re reaching out following our participation in ADAF / Chromosphere to raise some critical operational issues that significantly impacted our work and, we believe, the festival’s professional standard overall.”
Would you like me to give you a few optional versions of that opening sentence? It can really help frame the whole email from the first moment in their minds.