New and free software update adds new H.264 codec, new AAC audio codec, longer single file record durations and faster file transfers using Ethernet. Fremont, CA, USA – Friday, April 3, 2020 – Blackmagic Design today announced HyperDeck v7.1 a major new software update that adds multiple new features to HyperDeck Studio Mini broadcast recorders. The ...
Blackmagic Camera 6.9 update adds studio camera features such as remote control, tally and DaVinci color corrector to Blackmagic Pocket Cinema Camera. Fremont, CA, USA – Friday, April 3, 2020 – Blackmagic Design today announced new software update for its popular Blackmagic Pocket Cinema Camera 4K and 6K models that include powerful studio camera features. Now ...
Powerful new model adds a new hardware streaming engine via Ethernet, recording to USB flash disks and new multiview for monitoring all cameras! Fremont, CA, USA – Friday, April 3, 2020 – Blackmagic Design today announced ATEM Mini Pro, a new low cost live production switcher with all the features of ATEM Mini but now with ...
Aharon Rabinowitz utilizes Red Giant tools to demonstrate how easy it is to create a forcefield during this time of social distancing Portland, OR – April 2, 2020 – Red Giant has just released a quick and easy tutorial on creating a forcefield/watery surface effect. Now out on YouTube, Aharon Rabinowitz showcases his process of ...
These days AV artists are hiding out all over the place, this time curiosity didn’t kill the cat, as I stumbled upon the work of Cinema.AV on Instagram. it’s amazing where a hashtag can take you… #videosynth. I was keen to find out how someone so visually analog ends up that way, and how they manage in an ever expanding digital world (at the time of writing more so than ever).
1.Tell us about your first ever live gig? When was it and how did it go?
For years, I used to play a kind of ambient, soundscape style of music, and for live performance, I would put whatever found vhs tape behind me for visuals. Often without a screen. It often just turned into lighting for my performance, instead of clearcut visuals.
Fast-forward to a couple years later, in summer 2015, where I started buying jvc video mixers, archer and vidicraft boxes. It was here where I took it upon myself to do visuals for a show I had booked. Sadly, I didn’t realize, the projector couldn’t handle the distorted signals I was throwing at it. Luckily though, someone at the last moment, let me borrow theirs. It was total godsend. The result was this hyper-distorted cross between national geographic videotapes. It worked for the more abstract, psychedelia I had booked for the evening,
Later down the line, I found the need for time base correctors in live performance, and mixers equipped with such. To evenly blend, rather an abruptly with one of those RCA Y splitter cables turned on end. Which is actually the same as the classic Klomp dirty mixer. It was all stuff I got for free, or nearly no money. Never top of the line. Always the most difficult, least practical solutions. But the result was always unique to the moment, to the performance; endlessly fleeting.
2.We discovered your work on Instagram. How do you usually connect with the AV community online? Does social media play a big role for you?
Strangely, yeah. I hardly ever go out locally, unless of course I’m playing a show. So beyond that setting, you’ll never find me in the wild. Even before this quarantine action, I was a total homebody. Staying in whenever possible to work on art and infinitely explore the machines. So having access to social media platforms is actually key to the whole system. I can actively gauge what pieces people actually like, what ideas stick and in turn, get shared with a larger audience.
Its those posts that snowball into bigger and better gigs. As the recognition on a global scale is significantly more gratifying than just the local efforts I receive so often. In fact, for the better part of 2019, I was very busy with live video work. Having nearly no time off, I accepted this as a lifestyle, rather than just hobby. And in the social media zone, I’ve been able to publicly beta-test things like the Erogenous Tones Structure module, Phil Baljeu’s custom vector graphics system and as of late Andrei Jay’s latest raspberry pi video synth and feedback algorithms as hardware devices. The curiosity the results generated have in turn, sold modules and made the manufactures money to sustain their efforts.
…having access to social media platforms is actually key to the whole system. I can actively gauge what pieces people actually like, what ideas stick and in turn, get shared with a larger audience.
To be fair though, I’m not sure how much of this actually real. If it’s all made up, or the reactions are fabricated. It’s a fine silver-lining we’re all walking along. One day, a post could generate hundreds of interactions, while the next day, nothing. I think alot of that could actually be the option for folks to drift between realities, between the physical and the cyberspace. It’s in this cyberspace, that I do often connect with other artists, say for example my bud Konopka and has online video painting series. To watch him create something entirely from scratch, in real time, thousands of miles away is a true head-spin if you think about it. But not even 5 years ago would have been possible.
3. It’s fascinating to how analog and digital worlds inspire AV artists. What’s your take on the two and how do you find working with analog systems for live visuals?
Truly. When I first got started, it was all analog, all found devices. Though in time, I’ve found the whole LZX modular zone, which started analog and now has drifted into this wild digital hardware dimension that has opened up all kinds doors. The obvious attraction to the large analog modular is the physicality and pure intuitive nature of the whole thing. As in a live setting, there is nothing more fun and unpredictable than a hand-wired mess of cables and devices to create this ever-fleeting dialogue, never again to be replicated. For ambient, for house, for techno and literally everything in between, there’s this infinite body that just works, and often never crashes or fails.
If anything, it’s always the digital component that freezes or fails first. I’ve done shows with computer artists that for some reason or another, who just can’t make it work that particular night.
If anything, it’s always the digital component that freezes or fails first. I’ve done shows with computer artists that for some reason or another, who just can’t make it work that particular night. So just step in and end up taking over the evening with my system. However, I’ve had my fair share of venues tell me their systems are HDMI only. So learned to convert the analog composite outputs of the modular to the HDMI with aid of things like Ambery converters and scalers, Extron scalers, and even the silly Blackmagic shuttle, that has it’s own share of issues. It wasn’t until last summer that I realized the Roland V4-EX had a very effective means of conversion and scaling to HDMI, VGA, and back down again. The result was a total game-changer. So I sold my other mixers, and devices to scale up to HDMI and hadn’t looked back. This meant I could seamlessly work with digital projection systems and streaming processes. And from the get-go, it’s been used in every performance effort since. It’s even let me collaborate with both digital and analog artists alike. To fade and key between all manner of artists and ideas.
So little things like that make the whole system go, which leads me into the question…
4.What’s your basic setup when do performance live AV shows? (If you have one)
I am constantly pushing myself as an artist. So every year or so, I’ll experience this major creative shift around winter time, when my job at the photo lab temporarily shutters for winter break on campus. It is is then where I have about a month to chill and regroup my mind. This generally means some new gear enters the studio, and in turn the dirty warehouses they get thrown into for live work.
In 2019, I saw my modular system grow from a single 6U, two row case that could fly on any airline, to a larger 12U, four row system, that for the majority, made it’s way into every gig. In tandem with the V4-EX, the two were all I needed to do 8-10 hours of a rave whatever else I was getting booked for. However, the few time I flew out for one-offs, I brought it back down to 6U. Which was a lot of fun and lent itself to collaboration with other artists. It was in this time though, away from gigs and rather chill moments at the lab, where I began to experiment with the virtual dimension of VSynth, the Max/Msp visual extension. The result was very reminiscent of my larger modular system. Though at the time, my computer could only handle small patches. Anything big would see my computer begin to overheat and grind to a halt.
This got me looking at computers, seriously. As a video generation and manipulation tool, much in the same way the dedicated hardware was, but a larger, more sophisticated, and recallable level. It was months of research and a very generous donation within the family that lead me onto a gaming-oriented laptop, complete with a dedicated graphics card, that in it’s day was considered high-spec, and miles beyond my aging macbook. From the moment I lifted open the box and got it booted, I went straight into complex Max patches and dense 3D structures with the aid of Resolume Arena. When I realized I could save, and recall every motion, I started plotting how to gig with it. To layer to pieces together and to treat Resolume as a video sampler of my analog devices. What began to happen was a meshing of dimensions. No longer was one any better than the other. They were one of the same. It was with this entry that live performance physically became less stressful and far more manageable. No longer did have to carry this unwieldy modular system on a train or a bus. I could now discreetly carry the common laptop computer, just as everyone else.
Setting up and breaking down, with the projector, is a two cable, two power supply motion. So quick and so light. With the aid of a midi controller, all the tactility remains, and nothing changes. The digital results do look incredible though. I cannot deny that. No matter what I have though, I make the best of all of it. For touring, in 2020, my setup is just that. I did some dates with Steve Hauschildt and Telefon Tel Aviv across Texas and the process was so smooth. Same for the brief efforts with LLORA and BATHHOUSE, just weeks ago. So much less to think about, all with the same manipulations and motions.
5. What would be your dream AV gig?
Currently speaking, the dream is still to tour, to travel and do large scale art installations with my video work. I had things lined up, but those have all fallen in favor of the current pandemic. But that’s honestly not going to hold anyone for long. These things will all still happen, just not soon as I had anticipated. I was truthfully hoping to break into the festival dimension; Mutek, Movement, Sonar, Aurora, as from a live scale, that feels like the next big move, amidst touring through the theaters and dedicated art spaces. I’ve had tastes of all those, but like anyone serious about their craft, I want to further and really make a name for myself, as truly, I don’t know what else to do.
Find out more about Cinema.AV on his artist page
The post We pick the brains of Cinema.AV on his beautiful video synth work appeared first on Audiovisualcity.
Fremont, CA – April 3, 2020 – Blackmagic Design today announced that New Hampshire based live streaming and AV production company Events United used a Blackmagic Design live production workflow to produce Dropkick Murphys’ St. Patrick’s Day live stream “Streaming Up From Boston,” reaching a total of more than 10 million viewers. For the first time ...
The post Dropkick Murphys’ St. Patrick’s Day Concert Live Streamed with Events United and Blackmagic Design appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
Deadline: 1st June 2020
Since it first opened in 2019, the ELEKTRA Gallery regularly hosts exhibitions. Located in the heart of the Mile-End, this new venue supports the artistic community, focusing on originality and embracing contemporary aesthetics in research and experimentation.
This is a call for projects for digital contemporary artists who wish to exhibit works between September 2020 and June 2021. The selected projects will be part of the gallery’s official program.
To submit an exhibition proposal, please send the following elements to email@example.com:
The gallery offers professional technical assistance to set-up and has limited but high-quality equipment. Works with audio content can only be presented with headphones.
ELEKTRA pays artist fees for each selected exhibit.
The ELEKTRA Gallery is located at the Pôle de Gaspé at 5445 avenue de Gaspé #104, Montréal, QC, H2T 3B2.
Last week, Red Giant announced it is now making it possible to get a monthly subscription to Red Giant Complete, a subscription service that gives editors, motion designers and VFX artists all Red Giant tools at one low price. Now for just $79/ month, subscribers will have access to Trapcode Suite, Magic Bullet Suite, Universe, ...
Apple, et d’autres sociétés ont breveté une nouvelle technologie de réalité mixte. Contrôlable par la pensée, elle préfigure le futur d’une discipline en plein essor.
Tout a commencé alors qu’un ingénieur d’Apple a un jour présenté à ses supérieurs le concept ultra novateur d’un casque de réalité virtuelle virtuelle. L’idée était simple : il s’agissait d’enfiler un casque VR alors que l’on se trouvait déjà dans un univers virtuel. Emballées par cette trouvaille, les têtes pensantes de la firme à la pomme ont immédiatement approuvé le concept et donné leur feu vert au projet. Cependant, tout ne se passa pas comme prévu. En effet, quelques mois plus tard, l’ingénieur en question avait perdu toutes ses capacités cognitives et semblait être devenu un légume, comme lobotomisé.
Effrayés, mais surtout terriblement déçus par la tournure des événements, ses supérieurs ont tout de même décidé de capitaliser sur son idée. Une autre équipe de chercheurs a ainsi repris toute sa théorie, en modifiant simplement le support de base. Plutôt que de faire de la réalité virtuelle virtuelle, ils ont voulu appliquer le principe à la réalité augmentée. Seulement, ils se sont rendu compte après quelques essais que l’AR virtuelle n’apportait rien de nouveau. Non, il leur fallait une invention beaucoup plus puissante, celle qui pourrait façonner l’avenir des êtres humains et révolutionner l’existence même de l’univers. Ainsi, c’est avec de telles ambitions et en toute humilité qu’ils ont développé la réalité augmentée augmentée (que certains appellent l’hyper réalité, mais ça sonne clairement moins bien…).
La réalité augmentée augmentée est un concept très simple. Il ne s’agit pas uniquement d’afficher des informations sur des verres de lunettes ou un écran, mais de les projeter dans le monde réel pour qu’elles deviennent visibles de tous. Sauf que, quand bien même le concept est simple, la fabrication d’un appareil capable de le mettre en pratique présente un défi ô combien plus élevé ! De nombreux obstacles se sont dressés sur leur chemin, et ils ne furent pas loin d’abandonner à un moment.
C’était sans compter sur l’ardent esprit compétitif qui anime les équipes de développement chez Apple lorsqu’ils sont un jour tombés sur une équipe concurrente de Microsoft, puis une autre de Google, Amazon, Tencent, et Alain Afflelou, toutes à la recherche de la même recette miracle. Ils purent se consoler du fait qu’elles essuyaient chacune revers après revers, et peinaient à se relever après chaque échec.
Chose étrange, alors qu’elles étaient au plus mal, ces équipes reçurent toutes en même temps la visite d’une personne qui leur transmit un message identique : pour réussir, ils devaient joindre leurs forces. Ils furent également tous conviés dans une usine de textile perdue au fin fond de l’état de New York aux États-Unis. Sur place, un émissaire leur remit un prototype de casque conçu par l’armée américaine, en collaboration avec la Nasa et un institut dont il a préféré taire le nom. Le seul indice était la mention « Cerebro » incrustée dans le métal chromé de l’appareil.
Ensemble, les chercheurs ont commencé par étudier le casque grâce à de la rétro-ingénierie. Ils lui ont alors découvert des capacités de projection et de contrôle impressionnantes. Immédiatement, l’euphorie gagna l’ensemble de ces femmes et de ces hommes courageux qui en avaient bavé pendant de longues années. Au bout d’à peine quelques mois, ils réunirent les différents dirigeants de leurs boîtes respectives pour leur faire une démonstration d’un appareil au stade alpha. Les résultats furent plus que concluants. En effet, l’appareil de réalité augmentée augmentée était capable de projeter n’importe quel élément dans le réel. En outre, il se commandait entièrement par la pensée. Au-delà de cette prouesse, il permettait même de matérialiser une idée et de la concevoir dans l’espace.
Bien évidemment, le grand public n’est pas encore près de voir arriver cette technologie chez lui. L’on sait juste qu’elle est là, présente quelque part, dans les bureaux d’Alain Afflelou ou ailleurs.
À propos du premier ingénieur d’Apple, certains disent qu’il serait entré trop profondément dans les mondes de la réalité virtuelle virtuelle et s’y serait perdu, ne sachant plus faire la différence avec le réel. Néanmoins, une plaque à son (Lorenzo Di Castello) repose fièrement au QG de la société, en mémoire de ce héros, précurseur de la technologie qui allait changer le monde à jamais.
[Vous l’aurez sûrement compris vu la date de parution de cet article. Il n’est pas à prendre au sérieux, mais comme un moment de détente. N’hésitez pas à donner votre idée de ce que seront la VR et l’AR du futur]
Cet article Voici à quoi va ressembler le futur des réalités virtuelle et augmentée a été publié sur Réalité-Virtuelle.com.
New media asset management software enables Hollywood’s leading movie trailer producers to securely collaborate and create without constraint from home CAMBRIDGE, UK, 1 April 2020: Trailer Park Group, the award-winning global entertainment marketing company, which counts many of the world’s most prestigious and successful companies, brands, media properties and film franchises among its clients, is ...
The post IPV’s CuratorNow powers remote video production for Trailer Park Group appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
Following the International Skating Union (ISU)’s postponement of the 2020 World Short Track Speed Skating Championships in South Korea, the China Short Track Speed Skating team decided to go ahead and organize a ‘Simulation Game of the ISU Championships’ in Beijing. Tencent Sports, the main broadcaster responsible for the live production and public broadcast, turned ...
The post LiveU Remote At-Home Production Helps Tencent Bring Speed Skating Race Live to Viewers in China appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
Evan Henry, from Dallas, Texas, is a truly multidisciplinary AV artist, who primarily works visually under the artistic name Cinema AV, but who is also known to write ambient music scores with both analog and digital synthesizers. His work embraces both analog and digital set ups, with his main interest visually representing sound.
What began as a love of photography, cinema and found footage grew into something much greater when in 2015, Evan was introduced to video circuit-bending and once-obsolete video electronics. Using these pieces in a live performance setting was always his goal, and from the get-go, tachyons boxes, vcrs, and video mixers turned into buying used Gieskes 3trinsrgb+1c standalone video synthesizer, building its expanders and just over a year later, the LZX cadet and castle line of DIY eurorack modules.
From there, video art went from beyond a hobby, to a complete way of life. Reliant on live performance, he plays at gigs relentlessly for both local, and touring artists alike. In 2018, he joined Ghostly Intl.’s Steve Hauschildt on a tour through the East Coast and Canada. He became the resident visual artist for Proton Limited in Dallas, Texas in 2019. These motions set the stage for a constantly evolving motion in the live visual dimension.
Cinema AV’s work extends itself to instant and 35mm film renderings and has appeared in galleries and pop-up’s throughout North Texas. But when not playing live, or coordinating visuals for Dallas Ambient Music Nights, Evan is occasionally writing or building a set of modules for fellow artists.
The result is an infinitely growing body of work, that in the last few years has expanded itself into largely digital dimensions in Resolume Arena and Max/Msp.
Tokyo, Japan - Panasonic Corporation has announced a virtual panel session titled "Robotics for Well-Being," which will be streamed live on zoom webinar on April 9 at 10am Japan Standard Time. The session had been originally planned to take place at SXSW 2020 in Austin T...
DEADLINE: August 3rd 2020 (inclusive)
Event: 8-11 October 2020, Vienna
Punto y Raya Festival, the “most abstract in the world”, launches its NINTH international Call for Entries open to Short Films built up ENTIRELY with non-representational imagery. Only Dots & Lines as ends in themselves!
Authors are invited to focus on the expressiveness of audiovisual art in its purest state: Colour, Form, Motion, Sound. Participation is FREE and the films can be submitted ONLINE.
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.
As they say clearly, they are a street festival, but for solidarity, for responsibility and to win the fight against the pandemic, they stay at home. But to make the quarantine easier to go through, they present a challenge.
LLUERNIA AT HOME, Fire and light festival at home, takes place tonight 28th March at 20:00, and it’s the first edition. A strange way to start, and as they expected, it’s a challenge.
The people who participated had to post a one minute video of a domestic light installation with fire or light with the hashtag #lluerniaathome and all the materials had to be found at home, they couldn’t go out to search for anything. The open call closed yesterday, 27th March and today we will be able to watch in live on the web page www.lluernia.cat
The projects selected will remain in consideration till the 7th November, where Lluernia will be exhibited in the street.
Lluernia festival of fire and light, aims to become an annual event to visualize the relationship between the city of Olot and its surroundings, with the fire of volcanoes and how this origin has transformed, not only the orography and the landscape, if not the same character and culture of the people of La Garrotxa. As references, despite accepting the differences in format, they mention the “Fête des Lumieres” that is held annually in Lyon (France), the Light Festival that for the first time this year has joined the Party of Santa Eulàlia in Barcelona and the “Mapping Festival” of Geneve (Switzerland).
Stay safe tonight, lighting up your house while watching this charming festival online!
New Generation MD8000-100G Edition for the world’s most proven & trusted IP Transport Platform As demand surges for higher bandwidth at the network edge in order to transport more and more media channels, Media Links, manufacturer and pioneer in Media over IP transport technology, is introducing its new MD8000-100G Edition. Under the hood of the ...
The post Media Links Drives 100 Billion Bits per Second to the Network Edge for Remote Production Applications appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
LONDON— Veteran colorist Walter Volpatto, CSI has been appointed to the leadership of the Colorist Society International as a Fellow. A senior colorist at EFILM in Hollywood, Volpatto was nominated for a 2019 HPA Award for his work on the film Green Book. His more than 100 credits also include the features Star Wars: Episode ...
LEEDS, UK, MARCH 25, 2020 – NUGEN Audio’s Surround Suite offers a complete set of tools for upmixing, downmixing and multi-channel sound reshaping for the production market. Featuring the company’s Halo Downmix, Halo Upmix, ISL True Peak limiter and SEQ-S match and morph EQ software, NUGEN’s Surround Suite is perfect for both movie and television ...
The post NUGENS’s Surround Mix is Essential to Audio Post-Production for Today’s Evolving Media appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
With live-streaming soaring, the class-leading Shogun 7 HDR monitor-recorder-switcher is in high demand. It’s easy-to-use live switching and multi-channel ISO recording function make it quick and easy to deploy into settings from houses of worship to colleges, to vloggers front rooms. It offers a no stress setup to create live multi-camera content in no time ...
Vienna – 25 March 2020 – Bitmovin, a world leader in innovative cloud-based video streaming solutions, has announced its ‘Bitmovin Live: NAB Edition’ will take place between 13th – 24th April. The fully-fledged virtual experience will bring the action of NAB Show from Las Vegas to the cloud in the form of lab sessions, partner ...
The post Bitmovin launches its virtual NAB to showcase the future of video streaming appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
EMERYVILLE, CALIF., March 24, 2020 – Advanced Systems Group (ASG), a leading media technology and engineering firm, today announced it has added the team of Kymberly Cannon and Kelli Clark to enhance sales and service efforts across Southern California. Cannon, a regional sales manager, and Clark, a solutions engineer, worked together at Quantum before joining ...
The post ASG Strengthens Los Angeles Sales, Service Efforts with Industry Veteran Team of Kym Cannon and Kelli Clark appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
Business formerly known as HyperActive Broadcast switches operations to new base near Farnborough Airport Watford, UK, 23 March 2020 – Gravity Media, the leading global provider of complex live broadcast facilities and production services to content owners, creators and distributors, has moved its UK post-production equipment rental business to a larger facility. Its new home is a 15,000 square foot (1,400 square metre) building including purpose ...
The post GRAVITY MEDIA’S UK POST-PRODUCTION RENTAL DIVISION MOVES TO BIGGER FACILITY appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
Dans un entretien avec un journaliste du site américain IGN, Gabe Newell a affirmé que notre réalité pourrait bientôt rejoindre celle du film The Matrix. La réalité virtuelle ne serait qu’à quelques pas d’une telle prouesse.
Nos confrères du site américain IGN ont eu la chance de pouvoir interviewer Gabe Newell, le cofondateur de Valve. Il est ainsi revenu, pendant environ une demi-heure, sur la situation actuelle de son entreprise. Le sujet Half-Life : Alyx a bien entendu été abordé. L’occasion pour ce vétéran de l’industrie du jeu vidéo de donner son avis sur la réalité virtuelle. Il a notamment révélé que d’après lui, la VR pourrait atteindre une forme beaucoup plus avancée dans très peu de temps. « Nous sommes bien plus proches de The Matrix que ce que les gens imaginent », a-t-il déclaré.
Gabe Newell a continué en précisant que cette évolution de la réalité virtuelle ne serait pas exactement comme dans The Matrix. En effet, le film passe complètement à côté des subtilités techniques intéressantes. Il ne parvient pas non plus à bien représenter ce que deviendra notre monde quand l’interface entre cerveaux et ordinateurs se sera démocratisée. Pourtant, cela devrait permettre de créer de nouvelles expériences incroyables pour tous.
Le papa de Gordon Freeman est alors entré plus en détail dans les spécificités du cerveau. Il affirme que connecter une interface aux cortex moteur et visuel d’une personne est une manipulation plus facile qu’il n’y paraît. Si pour le moment la technologie n’est pas encore tout à fait au point, Gabe Newell est persuadé que cela sera une immense source d’enseignements. Au fur et à mesure des différentes tentatives, l’on apprendra ce qui fonctionne et ce qui ne fonctionne pas. Cela permettra également d’écarter tout ce qui n’est pas essentiel sur le long terme.
À la question de savoir si ce concept pourrait avoir une interaction avec les jeux vidéo, le patron de Valve a répondu par l’affirmative. Il a même été plus loin en prédisant que les acteurs de l’univers du divertissement sous toutes ses formes qui ne prévoient pas d’utiliser cette technologie peuvent presque déjà mettre les clés sous la porte. S’ils n’y réfléchissent pas maintenant, il est certain que cela fera néanmoins partie de leurs plans dans un futur plus ou moins proche.
Si Gabe Newell n’a fait aucune mention d’un nouvel appareil de réalité virtuelle en préparation chez Valve, ses propos ne laissent cependant guère de place au doute. Quant à savoir quelle forme il adoptera, seul le futur nous le dira.
Cet article Selon Gabe Newell, The Matrix n’est pas un rêve si éloigné que cela a été publié sur Réalité-Virtuelle.com.
Colorists, editors and other staff are working on film and television projects off-site. NEW YORK CITY— In response to the coronavirus outbreak, Goldcrest Post has established the capability to conduct most picture and sound post-production work remotely. Colorists, conform editors and other staff are now able to work from home or a remote site and ...
The post Goldcrest Post Implements Remote Post-Production Services in Wake of Coronavirus appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
Nashville, TN (March 18, 2020) — ADAM Audio is very pleased to announce the premiere of the ADAM Academy, an informative video series on the company’s YouTube channel which provides all viewers from entry level audio students to skilled working professionals with valuable information, tips and tools that they can use to get the best ...
Fremont, CA – March 19, 2020 – Blackmagic Design announced today that DaVinci Resolve Studio was used to recreate some of the iconic scenes from “Nightmare On Elm Street 3: Dream Warriors” by original cinematographer Roy Wagner ASC. Wagner took on the challenge to re-shoot his work to show how far filmmaking technology has come. He relied ...
The post DaVinci Resolve Used to Edit and Grade Recreation of “Nightmare On Elm Street” appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
Cypress, CA, March 19, 2020 – FOR-A Corporation of America continues to develop products that support 12G-SDI infrastructures for live production workflows. Among its offerings are the new MFR-4100 and MFR-6100 12G/6G/3G/HD/ASI routing switchers, as well as the HVS-6000 Series of HANABI video switchers, which support HD and 4K production. “For live event production ...
The post FOR-A Switchers, Routers Support 12G-SDI Infrastructures for 4K/8K Live Production Workflows appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
Atomos continues its 10-year anniversary celebrations with the launch of a special offer on its popular Shogun 7 monitor-recorder-switcher. From March 13, 2020, customers purchasing a Shogun 7 can choose between two complimentary gift options. For professionals looking to upscale their workflow, there’s the option to add a Shinobi SDI five-inch HDR monitor to their ...
Q: Tell me about the company. What inspired you both to start Delta Soundworks? Ana:Founded by myself (Ana Monte, lead sound designer) and Daniel (Deboy, lead sound engineer) in Heidelberg, Germany in 2016, DELTA Soundworks is a 3D/immersive audio post-production facility. Our projects span across installations, virtual reality, 360-degree films and gaming, as well as ...