The new release includes significant AR and usability improvements and launches in a week when disguise also made its Designer software free for six months
The post Latest disguise software update powers the next level of Augmented Reality experiences for home and live audiences appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
The process any creative undertakes requires a steady workflow. Luckily Pixellot fulfills that need, and it will do the same this year at the 2020 NAB Show. This global media event will be held at the Las Vegas Convention center. The 2020 NAB Show is an event solely designed for broadcast professionals from all ...
La chaîne Youtube de la Game Developers Conference a mis en ligne une conférence donnée par Michael Malinowski en 2018. Ce dernier y dévoile les coulisses du fameux studio de jeux vidéo Creative Assembly, connu pour son travail sur les titres et licences Total War, Alien: Isolation et Halo Wars 2.
La conférence se concentre sur les outils de rigging, animation et pipeline employés par l’équipe.
L’article Le studio Creative Assembly dévoile son pipeline et ses techniques de rig/animation est apparu en premier sur 3DVF.
Aldermaston, UK, 17 February 2020 – GB Labs, innovators of powerful and intelligent media storage solutions for the media and entertainment industries, today confirmed that the specialist video production company, Kingdom Creative Studios, has installed GB Labs’ FastNAS F-16 Nitro storage system. Kingdom Creative founder and Managing Director, Simon Harrison, said, “Our talented in-house team ...
En juin dernier, nous annoncions que Xilam Animation, producteur et distributeur de contenus animés, entrait en négociations avec le studio Cube Creative en vue de racheter la majorité des parts de l’entité.
Xilam Animation annonce désormais avoir finalisé cette transaction, et possède donc 50,1% du capital et des droits de vote de Cube Creative.
Du côté de Xilam, cette acquisition permet au groupe de poursuivre sa croissance mais aussi de mettre la main sur une équipe dont le talent n’est plus à démontrer.
Nous en profitons pour republier le communiqué dévoilé lors de l’annonce des négociations, dans lequel
Xilam Animation (Code ISIN : FR0004034072, Mnémo : XIL), société indépendante de production et de distribution de programmes d’animation, annonce aujourd’hui entrer en négociations exclusives pour l’acquisition de 50,1% du capital et des droits de vote de CUBE CREATIVE, société française de production d’animation en images de synthèse et en 3D.
En ligne avec sa stratégie d’accélération des productions d’animation en 3D et images de synthèse, Xilam se dotera par cette opération d’une équipe de talents unique, experte sur ces technologies de pointe, au positionnement et à l’image de marque solidement ancrés dans le marché. Ce projet de rapprochement permettra à Xilam de poursuivre la croissance de ses livraisons de programmes d’animation et de l’accélérer à moyen-terme.
Marc du Pontavice, Président Directeur Général de Xilam, commente : « Ce premier projet d’acquisition s’inscrit pleinement dans notre plan de développement et renforcera notre avance stratégique grâce à un savoir-faire unique en images de synthèse. L’excellente réputation des équipes de Cube Creative s’est construite par leur créativité, leur adaptabilité et leur maîtrise parfaite des dernières technologies. Nous sommes impatients d’évoluer à leurs côtés pour contribuer à produire nos succès mondiaux de demain. »
Fondé en 2002 et basé à Levallois-Perret (Hauts-de-Seine), Cube Creative est un studio intégré de production de films d’animation en images de synthèse qui œuvre sur un nombre très varié de formats : court-métrages, vidéo-clips, spots publicitaires, films « grands formats » en relief, séries et longs métrages. Elle compte parmi ses clients des marques célèbres comme Cartier, Lu, Total, Kelloggs ou encore Skoll, des parcs d’attraction, mais aussi les grandes chaînes de télévision française. Cube Creative développe avec succès depuis quelques années des productions propriétaires telles que les séries Athleticus (diffusée sur Arte), Kaeloo (sur Canal+, Teletoon+, C8), ou encore Tangranimo (en cours pour France télévisions) et Pfffirates (en cours pour TF1). Elle dispose par ailleurs de nombreux projets de qualité en développement.
L’opération, dont le paiement est prévu en numéraire, sera réalisée sur le modèle entrepreneurial, privilégié par Xilam Animation. Les fondateurs dirigeants détiendront post-opération 49,9% du capital et demeureront totalement opérationnels. En s’associant à Xilam, Cube Creative, dont le chiffre d’affaires moyen sur les trois derniers exercices est d’environ 5 M€, bénéficiera de la réputation éditoriale comme de la puissance commerciale de Xilam en France et à l’international, de son accès privilégié aux plateformes numériques, ainsi que de son savoir-faire en matière de marketing online.
Xilam et Cube Creative entendent conclure cette opération avant la fin de l’année pour une pleine intégration dans les comptes de Xilam en 2020.
Lionel Fages, cofondateur de Cube Creative, conclut : « Au moment où les équipes de Cube Creative s’apprêtent à réussir leur pari en ajoutant au métier de prestataire haut de gamme celui orienté autour de la création d’IP et de la production déléguée, nous sommes fiers et enthousiastes de rejoindre le groupe Xilam Animation qui nous apportera sa forte expertise tant éditoriale que commerciale du marché mondial. Nos équipes et talents seront très complémentaires et nos savoir-faire rassemblés permettront au groupe d’être encore plus innovant dans la production et de franchir ensemble de nouveaux caps. »
L’article Xilam et Cube Creative finalisent leur rapprochement est apparu en premier sur 3DVF.
LIPA, the Liverpool Institute for Performing Arts that was founded in 1995 by lead patron Sir Paul McCartney and Principal Mark Featherstone-Witty, has converted one of its traditional theatres into a multifunction space that is acting as a hub for its new Creative Technologies and Performance course, which launched this year. Acoustic design consultancy White ...
Colourist Jean-Clément Soret integrates CGI and atmospheric shooting LONDON — 18 December 2019: One of the most awaited drama series of 2019, His Dark Materials, produced by Bad Wolf for BBC and HBO, was finished at Technicolor in London. With a story set in a parallel universe that seems like the Britain of ...
After seeing Shoeg’s project Infiltrate at LEV Matadero, we decided to catch up with him in Barcelona to find out more about his work, and to try and decipher the fascinating performance we saw that intrigued us to discover what technologies he uses to create his live AV shows.
Primarily I understand, you would consider yourself to be a musician, am I right? Or how would you label yourself? When did you decide to experiment with the A/V side of your show?
In the last years I’ve changed that way of seeing myself, so I would say I’m an artist. It’s not only sound anymore, I feel really that I am trying to express myself also through my code, my visual stuff, even my movements. I’m also collaborating with dance companies, where it is quite important to know how you move on stage, and this made me aware of that. So, for example I try to play without the table and computer blocking the visual line to the audience. I have also changed my relationship with sound, focusing more on textured layers instead of pitch.
I started as a “musician”, but my visual side has been always there. I’ve been working for 15 years as a video editor, and I always had this fascination about image and sound synchronicity and feedback.
Have you created the visual part of the show yourself or collaborated with a visual artist? (If so, who and why?) If not, tell us about how you developed the project and any challenges you faced in dealing with both elements of the performance.
I almost always create my own stuff. I’m not closed to collaborating with other people, but I tried to involve other artists in the past and for a reason it almost never happened, except for when I worked at the very beginning on the project with Ana Drucker, but after that I spent 2-3 years without a visual show, and I was really missing it. At some point, I wanted it back and I decided I had to refresh my coding knowledge to achieve what I wanted. I studied Computer Science for a couple of years, so at least I had a starting point – more or less.
I wanted to build a real time reactive visual system, that could be completely autonomous in a live set. The idea was to set up a bunch of rules, and do something sound reactive that could last 45 minutes in a live set without getting boring. So first challenge in this process was choosing which tools suited my needs the better. I tried, for example, Open Frameworks, which was a bit too complicated for my coding skills. Later, I knew about game engines like Unreal or Unity, which are free and you can do a lot of things scripting, easier to code. It’s also great to have this good amount of documentation and works done by other people online. I’m curious now about what Touch Designer can do, but for the moment Unity allows me to have a precise control of what I need.
On the other hand, I wanted to work with objects from the real world in 3D aesthetics. I could model them with Blender, but I have no idea. So I learned some 3D techniques, like photogrammetry or 3D scanning. I remember wanting something more “perfect”, but discovered almost by accident the beautiful imperfections this techniques introduce in the models.
We recently saw your performance of your latest project ‘Infiltrate’ at LEV Matadero. What tools and set up are you using for the show?
All the sound was generated using a couple of Etee sensors that the guys at Tangi0 lent me for a couple of months. These devices capture my hand and finger motion, as well as pressure data, and that is converted into MIDI signal through a Max MSP patch. Finally, MIDI is sent to the Virus and Digitakt. I had to bring hardware synths to the live sets, because I need a lot of polyphony to build these big layers of sound, and I couldn’t achieve it in virtual synths. Then, the visual stuff is a Unity app reacts to the sound mix.
How does the use of this technology improve, or add to the quality and experience of your show for you, as an artist?
It allows to express myself in ways I could’ve never imagined. I’ve never performed as comfortable and with wide palette of possibilities with an instrument until I discovered motion sensors combined with the computer. The ability to map any behaviour to any response allows you to optimize your abilities in order to get what you want. This can’t ever happen with “traditional” instruments, you have to adapt to the instrument rigidness and background. I also see the coding process as a prosthesis, an extension able to repeat mechanical operations while you pierce through them.
What does the future hold for Shoeg in the world of live performance?
In the near future, I have to improve a lot of things: I want to make my hands more prominent on stage and be less computer dependent. People keep asking what is happening with the sensors, and I want to make it a bit more understandable. I also have this long list of ideas to code which don’t have time to make, and I would also like to collaborate with other people. But before that, I want to record a new album. I hope I’ll be able to work on it in the next months.
You can find out more about Shoeg’s work through his artist page.
The post Blurring the boundaries between technology and the individual – Exclusive interview with Shoeg. appeared first on Audiovisualcity.
Carlos Martorell is a sound and visual artist based in a small Catalan town called Torelló, near Girona. His work focuses on the symbiotic relationship between humans and technology. He uses his programming skills and knowledge of new technologies to explore the visual and audio through the creation of experimental music and live AV.
He creates sumptious virtual worlds through programming language such as Unity, as well as with 3D scans. It’s not uncommon to see him performing with non-traditional MIDI equipment, using apparatus such as gloves and hand-held technology, which as an adds a peculiar physical dimension to his live shows.
Header photo © Hayley Cantor
Earlier this month, we met with Marta Verde to find out about her performance with Tensal at LEV Matadero, and to pick her brains about all those niggling little questions we had after following her career for the last few years.
Who are the artists that you are most looking forward to seeing at LEV Matadero?
Myriam Bleau and Ryoichi Kurokawa.
How were you contacted about the project at LEV Festival?
They called me and proposed that I collaborate with Tensal for their edition at Matadero in Madrid. I had never worked with him before.
Do you ever find that some genres of music just don’t inspire your work?
Absolutely. In general I don’t work on the clubbing, or nightlife scene, so related styles of music wouldn’t be my first choice of project. I actually started doing visuals with traditional Galician music.
Do friends often come to see your performances?
Yes, it depends on the performance. These days they tend to film me in vertical, so I rarely have content that I can use other than for Instagram [she laughs]
How do you feel about being on stage as a visual artist?
I don’t really like that part at all, but of course it’s part of the job. I’m quit shy, really. My show at LEV Matadero is quite different from what I usually do – in terms of music genre, as well as the time of the performance – pretty late, since I’m on at 1am.
What is the most unusual project are you’ve worked on in your career so far?
A few years ago I worked on a project with a musician called Julián Elvira who built a flute that played different frequencies (I had no idea that this wasn’t already the case with flutes!) It was really interesting, because I learnt a lot about music and we were able to work very closely together for the collaboration. We premiered the show in Martin E. Segal Theatre, New York.
What are you working on at the moment?
Right now, I’m working on a live performance with Madrid-based composer, José Venditti. He plays saxophone, and works on deconstructing sound through classical patterns.
What set-up will you be using for your performance tonight?
A couple of months ago I bought an analogue video synthesizer from LZX Industries. It’s really fun. There’s no preview, so anything can happen, and I also can’t save any presets. I also won’t be using any code for this show, which is very unusual for me. I’ve always been fascinated with the idea of analogue video techniques, and don’t really understand why people go to great lengths to copy the aesthetic digitally, when they could just try to get a real one.
Do you use social media a lot to promote your work?
You can follow me if you like, my instagram account is mainly dominated by photos of my cat and screenshots of my work. I don’t really get work through social media channels, people tend to contact me directly. The work is really interesting and every project is completely different. Usually I’m presented with some kind of problem and I find ways to solve it.
Apart from doing visual performances, you are currently working at a Fab Lab, right?
It’s very common for freelancers to supplement their work through teaching, which I love. I find it really motivational and inspiring to work with young people and their ideas. I used to work as a coordinator in a Fab Lab, and I still give classes on programming and digital manufacturing there, but not on a regular basis anymore. I tend to work in different locations and on a more ad-hoc basis, that way I can combine teaching with my own projects.
If you want to read more about Marta’s work, you can check her artist profile page here.
The post Marta Verde on her live A/V show with Tensal, at LEV Matadero appeared first on Audiovisualcity.
Marta is a Creative Coder and Digital Artists from Galicia, based in Madrid.
Originally, she studied Fine Arts, and now she is specialised in new media arts and digital technologies applied to the performance arts. She also teaches at the Fab Academy, as an expert in digital fabrication.
Marta develops visuals, interactive and generative graphics, as well as dynamic/interactive content for lighting design, custom electronic devices and wearables, interactive installations for musicians, dance and theatre companies, artists, designers and arts institutions.
Her work is constructed through the use of custom built software and hardware specific to each visual set, allowing her to manipulate all the content in real time and to explore the limits of visual noise, repetition and the link between the organic and the electronic.
She works primarily in Spain and Portugal on a wide variety of projects, from theatre to festivals. Marta has also performed at festivals such as Primavera Sound, LEV Matadero, Sonic Arts Festival, MIRA and WOS Festival.
She also has taught about technology and interactivity at: IED Madrid, Ephemereal Architecture Masters Degree at ETSAM Madrid, Medialab-Prado, La Casa Encendida ,Fundación Telefónica, BAU, UOC, and has mentored Hackatons at Makers of Barcelona with Ciclo.io.
You’re looking at a screen setup where I’m outputting seven 4K screens. That’s 26K x 2K. From a laptop and eGPU. Could do more, but need another eGPU. 😁 #vivacreative #agencylife
Find the digital frontier's new direction with three ways a creative agency can benefit from having a Creative Director of Video.
WOA presenta HIDENTITY, un progetto personale che fonde arte e tecnologia, un lavoro che più che mai ci rappresenta. ⠀
Dopo quattro anni, passati a 200 km/h tra lavori e sperimentazioni, abbiamo deciso di fermarci e guardarci indietro. ⠀
Unendo i puntini abbiamo trovato la nostra identità nascosta e abbiamo tracciato la direzione da prendere.⠀
#woacreativecompany #interaction #performancemapping #motionmate #aftereffects #projection #madmapper #touchdesigner #millumin #generative #motiongraphics #designinspiration #design #art #graphicdesign #beauty #model #picoftheday #girl #creativity #coolproject #performing #performingarts #performing #creativecompany @pajols @vonolders @incrementnsave @ric_ape @touchdesigner @millumin2 @factorynolo @superdopeaudio
Abbiamo fondato WOA con l’idea di spingere i miei lavori un po’ più in là, creando una squadra di matti professionisti, curiosi di sperimentare e fare ricerche che unissero creatività e tecnologia.
Due anni fa creammo un sistema che permetteva a un qualsiasi oggetto (o corpo rigido) di reagire al tocco e all’urto e, tramite il nostro know out sulle proiezioni, creammo un VIDEOMAPPING INTERATTIVO!
We founded WOA to push my work behond the boundaries.
With our crazy team, we are curious to research and experiment new way to fuse creativity and technology.
Two years ago we create a system that switch any object in a touch reactive tool.
We integrate that technology with our projection’s know how to create an INTERACTIVE VIDEOMPAIING!
#videomapping #woacreativecompany #tabletouch #interactive #interaction #touchdesigner #resolume #projectionmapping #experiment #laboratory #woa #davideasker #generative #creativecode #motiongraphics #newmedia #newmediaart (at WÖA)