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6 filières et 13 sites : Brassart, l’école des métiers de la création

Par Shadows

NDLR : cet article est sponsorisé par le groupe Brassart.

Dans la jungle des écoles, il peut être difficile pour les futurs élèves de s’y retrouver. Le fait que la rubrique Ecoles de 3DVF.com liste déjà une cinquantaine d’établissements en France, rien que dans les secteurs liés aux arts numériques, montre bien le problème : en tant qu’étudiantes et étudiants, vous êtes confrontés à une offre vaste et intimidante.
Afin de clarifier les choses, voici une présentation du groupe Brassart et de ses campus implantés dans 13 régions françaises, chacun ayant ses spécificités : de quoi mieux cerner le contenu des différentes filières et déterminer quels sites du groupe pourraient vous convenir.

Un aperçu des travaux des étudiantes et étudiants en animation 3D et jeux vidéo

Le groupe Brassart en quelques mots

L’école Brassart naît en 1949 avec la création du Cours Moderne de Décoration (qui prendra le nom de Brassart en 1969).
Si la formation est évidemment centrée sur les arts traditionnels à l’époque, avec par exemple une formation de dessinateur maquettiste dès 1956, Brassart saisira très rapidement le potentiel du numérique.
Ainsi, en 1985 sont lancés les premiers cours d’infographie, à l’époque sur des machines de type Amiga. Les formations sur la suite Adobe prennent place dès 1992 (deux ans après le lancement de Photoshop 1.0). Au début des années 2000, le groupe met le pied dans la 3D avec une formation dédiée. Enfin, en 2009, l’école Brassart lance sa première formation autour du jeu vidéo.

Cette croissance progressive des champs d’enseignement de l’école s’accompagne bien évidemment, au fil des ans, d’une augmentation du nombre de ses sites. A partir du site de Tours, Brassart s’étoffe au fil des ans : Nantes, Grenoble… Plus récemment, le groupe Brassart s’est rapproché de plusieurs écoles (ESMI, EPIIC, groupe Aries) pour aboutir à sa taille actuelle : un ensemble de 13 campus unis au sein d’une même école, mais chacun disposant évidemment de ses spécificités.

Notez également que depuis 2019, l’école Brassart a été intégrée au groupe EDH, spécialiste de la formation qui rassemble également des écoles de communication, journalisme et management culturel.

Au final, Brassart est donc constituée de 13 campus qui en 70 ans ont formé environ 10 000 élèves de 17 nationalités.

Six filières d’exception, quel que soit votre profil

Le groupe Brassart propose six filières artistiques, chacune ayant des débouchés propres. Les voici, précédées d’une description des classes préparatoires incluses dans la majorité de ces filières :

-Classes préparatoires

Socle indispensable pour de nombreuses formations, les classes préparatoires en Arts Appliqués ou en Cinéma / Audiovisuel sont destinées aux élèves Post-Bac. En 1 an, elles vous permettront d’acquérir les fondamentaux théoriques et pratiques utiles quelle que soit votre carrière artistique finale. Il s’agira aussi, en découvrant et en expérimentant avec les techniques, de vous permettre de préciser ou confirmer votre orientation : animation 3D, effets visuels, jeu vidéo, cinéma/audiovisuel, design graphique.
A noter : les classes préparatoires sont accessibles quel que soit le bac d’origine.

Animation et 3D VFX

En trois ou quatre ans de formation (et après une année préparatoire), vous vous préparerez aux métiers de l’animation 3D, des effets visuels et de la création 3D. La filière s’appuie sur plusieurs principes fondateurs : autonomie mais réflexion collective et partage, ouverture à l’international, esprit studio.
Cette filière est proposée sur les sites d’Aix-En-Provence, Annecy, Bordeaux, Caen, Grenoble, Lille, Lyon, Montpellier, Nantes, Strasbourg, Toulouse et Tours.

En pratique et comme le montre le schéma de formation ci-dessous, votre formation comprendra une formation animation 3D de 3 ans, avec deux années de fondamentaux puis une année de pré-spécialisation (Animation 3D, Effets Spéciaux Numériques ou Character Designer & Environment Artist 3D).
Enfin, une année de cycle expert vous permettra de vous spécialiser davantage encore. De quoi finaliser votre bande démo mais aussi créer un projet de fin d’études (court-métrage).

– Jeux Vidéo

Sur un schéma de formation similaire à celui du cursus Animation et 3D VFX, ce cursus vous permettra d’obtenir un Bachelor en 3 ans, avec possibilité de suivre en 4e une année de spécialisation en « Character Designer & Environment Artist 3D », « Effets Spéciaux Numériques » ou « Animation 3D ».

-Audiovisuel

Après une classe préparatoire, cette formation proposée à Bordeaux vous permettra en deux ans d’obtenir un BTS Audiovisuel Option Montage/Postproduction. Ce cursus s’appuie évidemment sur la théorie mais également sur une solide dose de pratique : expérimentations, utilisation des techniques de montage, maîtrise des éléments techniques indispensables pour monter et post-produire des projets tels que film, clip, publicité.

-Arts Graphiques Illustration

Après une année de classe préparatoire, ce cursus vous amènera en trois ans vers les compétences nécessaires à l’une des trois spécialisations proposées : Concept Art, Storyboard, Illustration/BD.
Proposé à Bordeaux uniquement, ce Bachelor vous permettra par exemple de travailler en studio de production ou dans le secteur de l’illustration jeunesse.

-Bande Dessinée

Ce cursus est proposé au sein de l’Académie Brassart Delcour (Paris), créée en 2014 par l’Ecole Brassart et les éditions Delcourt-Soleil, ce cursus de 3 ans est résolument centré sur la bande dessinée. Avec l’aide de professionnels du secteur, vous vous initierez aux fondamentaux de ce domaine avant d’approfondir les techniques associées. Enfin, 5 options vous seront proposées pour vous professionnaliser : auteur, dessinateur, scénariste, coloriste et enfin story-boardeur.

-Design Graphique et Digital

Après une année de classe préparatoire en arts appliqués, vous vous orienterez vers un cursus de 2, 3 ou 4 ans.
Le Cycle Infographiste Multimédia, proposé à Bordeaux, Tours et Caen, vous permettra en 2 ans d’apprendre les fondamentaux des outils infographiques, de façon à intégrer une agence de communication ou un studio créatif.
Le Bachelor Design Graphique et Multimédia, de son côté, proposé dans de nombreuses écoles Brassart, vous permettra de maîtriser des projets de type design graphique, design de packaging, webdesign, publicité. En tant que designer graphique et grâce à votre vision d’ensemble d’un projet, vous pourrez à terme vous orienter vers un poste de type direction artistique.
Le cycle expert Directeur Artistique Digital, proposé à Nantes, vous proposera justement d’accélérer cette évolution en vous permettant d’acquérir les compétences spécifiques à la direction artistique, de l’expérience utilisateur au rebranding en passant par le numérique. Cette année de spécialisation se fera en alternance.

Malgré le contexte actuel, une équipe mobilisée

Cette année 2020 présente évidemment des défis pour les équipes pédagogiques. Grâce à la mobilisation de l’ensemble du personnel des écoles Brassart, les cours ont pu se poursuivre : les programmes et travaux de groupe se font en ligne depuis le lundi 16 mars. Les élèves restent donc bien évidemment suivis avec la même exigence. Quelle que soit la durée du confinement, l’ensemble des étudiantes et étudiants Brassart continuent donc à bénéficier de leur formation, avec les ajustements nécessaires.

Il en est de même pour les futurs élèves : si les journées portes ouvertes classiques prévues après le début du confinement ont évidemment été annulées pour raisons de sécurité, un dispositif spécifique a été mis en place.
Trois volets permettent de poursuivre l’information et le processus de candidature :

– Tout d’abord, des réunions d’information en ligne dont organisées régulièrement. Interactives, elles vous proposent présentation de l’école, des cursus et carrières, mais aussi des témoignages. Vous pouvez bien évidemment en profiter pour poser vos questions.
N’hésitez pas à garder un oeil sur l’agenda afin de connaître la date de la prochaine réunion. Un ordinateur, une tablette ou un smartphone suffisent pour vous connecter.

– Vous pouvez également demander un rendez-vous personnalisé d’information, que ce soit par téléphone ou en visio-conférence.

– Enfin, le système de candidatures s’est adapté à la situation actuelle. En particulier, les entretiens de candidature pour intégrer l’une des filières (hors filière Audiovisuel* hors filière Game Design) s’effectuent en visio-conférence (Skype, WhatsApp, FaceTime, etc.).
N’hésitez pas à consulter le site Brassart pour savoir quels éléments fournir en amont de l’entretien et ainsi vous préparer au mieux. L’entretien proprement dit durera 30 minutes.

Pour en savoir plus

Vous désirez obtenir plus d’informations sur les formations Brassart ? Plusieurs voies s’offrent à vous :
– vous pouvez télécharger la documentation de la formation initiale, afin de mieux cerner son contenu et ses débouchés ;
– le site Brassart est évidemment à votre disposition : que vous cherchiez des informations sur l’école, les filières proposées, les différents campus ou les métiers vers lesquels débouchent les formations, vous y trouverez de nombreux détails. A noter également, la rubrique international (perfectionnement en anglais mais aussi possibilités d’études à l’étranger). Enfin, et car les travaux des élèves parlent d’eux mêmes sur la qualité de l’enseignement, n’hésitez pas à faire un tour dans la galerie. Vous y trouverez de nombreux projets classés par cursus.
– La Chaîne Youtube de l’Ecole Brassart, pour finir, vous permettra de découvrir courts-métrages, aperçus de la vie au sein des campus, témoignages de professionnels.

L’article 6 filières et 13 sites : Brassart, l’école des métiers de la création est apparu en premier sur 3DVF.

Pixel Shapes

Par Marco Savo

Their very diverse backgrounds (video editing, web design, vjing, 2D-3D graphics, video post-production, sound design) and a powerful synergy among themselves, lead to the development of Pixel Shapes collective that aims to produce impressive video mapping, visuals and installations.

VIDEO MAPPING

From traditional video projection techniques to the most complex forms of architectural video mapping.

INSTALLATIONS

Looking for new forms of communication through the use of multimedia technologies and nonconventional supports.

STAGE DESIGN

Design of multimedia scenography.

SOUND DESIGN

Sound department is handled by Giovanni Raniolo, established sound designer and music producer.

Infopixelshapes@gmail.com

LINK BOX

Facebook / YouTube / Instagram

The post Pixel Shapes appeared first on Audiovisualcity.

We pick the brains of Cinema.AV on his beautiful video synth work

Par Hayley Cantor




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. 

All photos courtesy of Evan Henry.

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. 

All photos courtesy of Evan Henry.

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. 

All photos courtesy of Evan Henry

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.

⁣ ⁣⁣ ⁣#repost @aptart2020⁣ ⁣__________________⁣ ⁣⁣ ⁣APTART Media...




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⁣#repost @aptart2020⁣
⁣__________________⁣
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⁣APTART Media Facade Set up⁣
⁣아파트아트 첫번째 투어가 충남 아산에 위치한 아파트에서 진행되고 있습니다. ⁣
⁣@millumin2 으로 메핑(Mapping)을 진행중입니다. ⁣
⁣3월 26일부터 27일까지 저녁 7시부터 9시까지 진행됩니다. ⁣
⁣#APTART (at 충청남도 아산시 배방읍)
https://www.instagram.com/p/B-g31acpJrH/?igshid=1flsct12vpwqa

Elektra Festival: Open Call

Par Marco Savo

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.

www.audiovisalcity.org/elektra

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 zhamila@elektramontreal.ca:

  • Artists’ curriculum vitae
  • Description of the project and the artistic approach (maximum 2000 words)
  • Technical rider of the artwork
  • Up to 10 images and/or videos of your art project or closely related projects

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.

READ MORE

The post Elektra Festival: Open Call appeared first on Audiovisualcity.

Voici à quoi va ressembler le futur des réalités virtuelle et augmentée

Par Gwendal P
futur XR

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…).

De longues années de recherches infructueuses

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.

Tout seul, on va plus vite, ensemble, on va plus loin

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.

Globecast attains security assessment for its digital cinema business from Trusted Partner Network

Par Jump

Paris, 31st March 2020 — Globecast, the global solutions provider for media, has announced that it has successfully received security assessment from Trusted Partner Network (TPN) for its Digital Cinema business to address video piracy and content redistribution. Formed in 2018 by the Motion Picture Association (MPA) and the Content Delivery & Security Association (CDSA), the ...

The post Globecast attains security assessment for its digital cinema business from Trusted Partner Network appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Cinema AV (AKA Evan Henry)

Par Hayley Cantor

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. 

Website | Instagram | Facebook | Youtube | Bandcamp | Soundcloud | Vimeo

The post Cinema AV (AKA Evan Henry) appeared first on Audiovisualcity.

Rencontre avec Gaëlle Seguillon, concept artist de Jurassic World à Aladdin

Par Shadows

Nous avions déjà eu l’occasion de vous présenter les travaux de Gaëlle Seguillon, concept artist qui a eu l’occasion de travailler sur plusieurs grosses productions ces dernières années (Ready Player One, Jurassic World, Aladdin…). Elle vient d’être interviewée par DigitalPainting.School en vidéo :

L’occasion de vous inviter à (re)découvrir ses travaux :

L’article Rencontre avec Gaëlle Seguillon, concept artist de Jurassic World à Aladdin est apparu en premier sur 3DVF.

Punto y Raya 2020 // Call for Entries

Par Marco Savo

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 post Punto y Raya 2020 // Call for Entries appeared first on Audiovisualcity.

⁣ ⁣⁣ ⁣#repost @loeilaguillaume⁣ ⁣__________________⁣ ⁣⁣ ⁣Y’a des...




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⁣#repost @loeilaguillaume⁣
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⁣Y’a des formations comme ça… #logicielregievideo #millumin2 #millumin #qlab #maitrise #perfectionnement #ocs #midi #hap #vp #mediaserver #reseau #imagination #mapping #projectionmapping #lepied #espacevirtuel #media #artnumerique #pixels #creation #regisseurvideo (at CFPTS)
https://www.instagram.com/p/B-MHrvwJsAA/?igshid=gr5tkudoxsap

NUGENS’s Surround Mix is Essential to Audio Post-Production for Today’s Evolving Media

Par D Pagan Communications

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.

Live streaming the Sunday sermon with Shogun 7

Par Denise Williams

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 ...

The post Live streaming the Sunday sermon with Shogun 7 appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Embracing Lockdown: How DJs + producers are protecting their mental well-being

Par Matty Adams
Embracing Lockdown

Everyone in the dance music community has felt the impact of social isolation and a global shutdown. In today’s article, guest contributor Matty Adams has talked to nine DJs around the world about how they’re prioritizing their mental health and adjusting to our new reality. The current world isn’t easy for dance music Staring down […]

The post Embracing Lockdown: How DJs + producers are protecting their mental well-being appeared first on DJ TechTools.

Découvrez l’utilisation des particules sous 3ds Max

Par Shadows

Victor Burtman a débuté une série de vidéos autour des particules sous 3ds Max, à destination des débutants. D’autres volets sont prévus : n’hésitez donc pas à suivre sa chaîne Youtube.

L’article Découvrez l’utilisation des particules sous 3ds Max est apparu en premier sur 3DVF.

FOR-A Switchers, Routers Support 12G-SDI Infrastructures for 4K/8K Live Production Workflows

Par Pipeline Communications

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 marks 10-year anniversary with Shogun 7 promotion

Par Denise Williams

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 ...

The post Atomos marks 10-year anniversary with Shogun 7 promotion appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Inside The Mix With Ana Monte And Daniel Deboy

Par D Pagan Communications

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 ...

The post Inside The Mix With Ana Monte And Daniel Deboy appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

⁣ ⁣⁣ ⁣#repost @desilence_⁣ ⁣__________________⁣ ⁣⁣ ⁣This...




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⁣This installation we are doing with @janebeta7 at the @upfbarcelona pays tribute to all the women who worked in the textile factory Ca l'Aranyó since its opening in 1877. .⁣
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⁣#llumbcn #llumbcn20 #videomapping #frame #videodesign #visualist #generativeart #millumin #madmapper #nightphotography #lightskin #lightworker #lighthouse (at Master Universitario en Artes Digitales UPF-IDEC)
https://www.instagram.com/p/B94OIV5pudn/?igshid=118x9p08zfcln

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⁣I want to set up an experience like this in Occidental Park in Seattle. What do you think @downtownseattle ?! ;)⁣
⁣#Repost @mappingprojection⁣
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⁣ARTCUBE // PROJECTION EXPERIENCE @cacumenfilms .⁣
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⁣#mapping #projectionmapping #videomapping #projection #projectionexperience #installation #artcube @millumin2 #mdcommunity
https://www.instagram.com/p/B94OFjNJGhb/?igshid=rqcjdmo7d8av

Overlap Interview

Par Hayley Cantor

I have been exceptionally lucky to be able to pick Overlap’s Michael Denton’s brains with all of those nitty gritty questions about their career that every visual artist wonders about. How did they get to be where they are? What was the VJ scene like in the nineties? How is their relationship with technology and whose work inspires them? 

Overlap are true veterans and represent original artists on the audiovisual live performance scene, not only have they experienced more changes in performance technology than I’ve had hot dinners, they’ve been up there with some of the most popular artists of our time, performing with the likes of Chemical Brothers and have animated artwork by Damien Hirst.

You have presented your work in some of the most prestigious international galleries around the world, including the Pompidou in Paris, Tate Modern, and the Victoria and Albert Museum as well as done a VJ set with the Chemical Brothers. What is the project that you are most proud of? 

Remixing and VJing The Beatles Magical Mystery Tour film for its cinema première at the South Bank with Noise of Art was a highlight.

We’re pleased with the editions on SeditionArt. They incorporate a lot of ideas from the past and are also feeding into some future shows.  Musically, Greylight Green  is something that works when you’re in the right mood. As these recent editions highlight, we’ve always been at the more arty end of the Vjing/music industry, and the more musical end of the art world.  The music industry and the fine art worlds attribute value in such different ways. But twenty years ago, we were lucky to stumble into a certain era of EDM culture, it was like the early days of flying’s uncharted freedoms. In Turnmills nightclub in Holborn, I remember one of the guys from Reality Check, (the house VJ and AV  team, for nights, including The Gallery and Trade etc), saying they showed art to thousands of clubbers every week – and they did.  Hopefully for an audience the circling and repeating imagery of VJ-ing done well can create a kind of memory image burn effect – they go home with a ‘memory painting’

Fine art galleries and big projects have not necessarily been the most rewarding – the really interesting moment for us was being at clubs and festivals with a large amount of freedom, developing a  style of imagery and delivery without record companies and DJ Managers controlling what we did. It was genuinely creative and new, yet fulfilling a need. This for any artist is a luxury.

Early on we’d be flown out to Creamfields in Andalucia with Microchunk, or wherever, and literally be immediately on stage with a 50k audience and the DJ, no pre planning or rehearsing, ” 5 mins guys”, maybe an artist logo at the beginning, then mix. 

As Overlap you have experimented with the majority of the audiovisual art formats. Is there one in particular that you enjoy?  

Long VJ sets are a nice journey, in medium sized venues with a few different feeds going into multiple screens and low lighting.  AV sets are always a bit more stressy – as doing the visual/music/sound for maybe 40 mins, feels more contrived/pre planned and edgy.  Multi screens can make things a lot more architectural/sculptural, with 3d projections on objects etc, and simpler more graphic imagery. So a mixture of graphic and more pictorial screens is a nice balance. Again we tend towards a more art bias, whereas a lot of club imagery is a fairly bombastic extension of the lighting show – think rising chevrons.  Equally a very simple installation/projection on a gallery wall can be really satisfying.  For AV sets, good acoustics and smaller venues suit the minimal music we make.

I’m sure you have collaborated and met with many of the world’s most famous audiovisual and new media artists on the scene. Who particularly inspires you?

Loads of things inspire me, from motorcycling to design and architecture. More recently though works/gigs by Ryoichi Kurokawa, Fuse, some of the things AntiVJ have done, Davide Quayola. Nils Frahm, Biosphere, through to more obscure music form France Jobin to gallery based artist like Mat Collishaw. But also painters like Nigel Cooke, with his circuitous multi picture planes that create a pictorial balance that your eye follows round and around – comparable to good VJ mixing.  We were lucky to be part of a talented group of VJs represented by Microchunk in our VJing hey day – unique underground artists. I think we all inspired and motivated each other to push further artistically. Lady Pat and Grand Dame are two of Anna’s favourite, similarly self taught, audiovisual artists.

The art of VJing is a relatively new term for the art of live video mixing. When did you first become aware of the term and how has it changed for you over the years? 

Firstly it was the definitive move away from the pop video, which had been: point camera at people singing the song, illustrate/narrative/advertise – ie. TV.  So the culture of EDM remixing, had the authority to legitimize its visual equivalent and create the context for VJing. It’s a term I’m not overly fond of, but it does put you on the stage side of technician, ie you make and shape content – not to demean the amazing art, that is light mixing, house sound, etc. VJ content is a form of visual serialism, like music about patterns, removing the asymmetry of drama, its infinitely more complex in its potential multi layer/screen applications than linear media, maybe more so than music.

When I was at Chelsea art school, there was Glitch (first time around, VHS crash editing, late 80’s),  video artist lecturers talked derogatorily of ‘club wallpaper’,meaning all things shallow. But I was interested in this form, that had a use and the public liked – unlike so much video art of the era.

The first time I got paid to show images in a bar – also in Holborn, was in 1985.  The fee, one bottle of wine.

The first time I thought about something like VJing was as a very young kid, around the time the Beatles released The White album, in the back of my dad’s car one evening, driving along country roads in Dorset and thinking about ‘films’ that would be like the trees sliding past the windows. Non narrative loop structures – I certainly didn’t know what narrative meant at the time, but I did have this strange certainty of there being a future for this sensory/sensual idea.  The first time I got paid to show images in a bar – also in Holborn, was in 1985.  The fee, one bottle of wine.  Then I showed an AV Album work called  Open at  Megatripolis, Heaven, Charing Cross around 1994.   I met Anna in the late nineties we got invited to do stuff at the ICA and bars in Shoreditch etc.  We formed Overlap and she learned a lot of the Adobe programmes very fast and we started to get paid to VJ, both loving the visual depth, luminosity and surprises that multilayering and keying threw up.

Photo still from Overlap’s project, Lipstick Earth

How would you define the difference between an AV set and a VJ set? Could you describe one of your set ups to us?

People I know who travel the world for major DJ acts are operating in a different world from small AV acts. There’s’ a big difference between doing multi screen VJing, with pre programmed triggered clips via midi, osc etc  and mixing live on the fly, by feel.  Ben Francis who does visuals for Calvin Harris, for example is taking code with BPM info etc, from the CDJ’s, but is also live mixing.  Keeping the audio and imagery separate still seems to be an industry standard. The music driving the imagery, which makes sense in some ways, but is also strangely anachronistic. When we do an AV set we have married imagery to 8 bar loops, some elements are locked with time code if we’re using a separate music source, CDJ’s etc and some not, to make it more organic.  Most AV performers drive Resolume with Ableton or code, or at least lock them. Unusually, we use Resolume a lot for sound. 

Photo courtesy of overlap.co.uk

AV shows can be done in so many ways. In the end it seems the content and the feel of what you’re doing is probably more important than how you’re doing it.  How much do you want to do live – how much does the audience care how dexterous you are?   DJ’s spend a lot of time dramatically illustrating that they’re turning a mixer knob,  that appears to have the equivalent friction of pulling a ship back up a launching ramp, they haven’t got anything else visually to do. Where as, if you’re doing a multi 4 Bar loop AV set, five layers deep and you’re triggering them live, you’re busy with no time for the high friction mixer antics. 

Recently we’ve been using performance tools like Resolume to create on as well as a performance tool. I tend to pick it up like a guitar and mess around, sometimes its a really useful ‘writing’ instrument too. 

As a Barcelona resident, I can’t help but notice that you once had regular visual slots at Razzmatazz. Tell me more about that! How was the VJ scene in Barcelona back then? How is the scene in the UK these days?

This was VJ-ing with visual specialists/agency Microchunk , who were represented by William Morris, which meant we were well looked after.  There was a core group of artists including Lady Pat, Mischa Ying, Ben Francis, Muthabored, Todd Graft and ourselves and we were lucky to perform and make installations everywhere from Norway’sHove festival, to Glastonbury. In Barcelona, we’d perform two nights, mainly at The Loft, Friday and Saturday from around 11pm till 6.30 in the morning, sometimes just Anna and I, but often other VJ’s. The local VJs were very gracious about us filling their slots.  It was always full on at Razzmatazz, a really intense atmosphere. The club was always packed.We’re not really involved with the UK club scene  at the moment, but friends who work for major acts seem to be far more controlled by a corporate plan.  

You have both lived through a plethora of technological developments throughout your careers, starting with the use of VHS in your installations. What is your relationship with technology? Is it one of love and hate or it is a match made in heaven?

Anna and I are different generations –  before I met Anna, I spent a lot of time blagging my way into analogue beta edit suites in Soho to make material – it was tricky, but looking back people were incredibly kind and helped me realise effecting footage shot on motorcycle trips with a clockwork Bolex.   Anna and I started at the point of very low resolution VJ software – so we used hybrid mixtures of micro chapter DVD loops and Flash loops mixed with V4’s. I like the things that technology makes possible, but get frustrated with the art world tendency to think if you ‘paint ‘ with technology, that you should necessarily be using the very latest tech and trend.  I enjoy mapping and responsive VR etc, but equally I like the confines of a rectangle and a painters vocabulary.  Music doesn’t seem to have the same linearity, no one would think it odd playing a 1960’s Fender.

I enjoy mapping and responsive VR etc, but equally I like the confines of a rectangle and a painters vocabulary. Music doesn’t seem to have the same linearity, no one would think it odd playing a 1960’s Fender.

I notice that landscapes have been a recurring theme in your work, right up to your most recent project of Transitional Landscapes. What is it about landscapes as a subject that inspires you?

We all project memories and feelings onto our immediate surroundings. Landscape is a good genre to play with the relationship between still and moving imagery, the romantic v the analytical, the unveiling of narrative contrasted by the implicit ambiguities of painting (movies v fine art). 

Mixing trees from around the world is strangely satisfying, they’re overlaying branches having a legitimacy. English copses with New World deserts keyed through wallpaper and fabric’s repeated motifs reference Richard Dadd’s The Fairy Feller’s Master-Stroke’s, heightened stillness, petrified trees and flattened nature,  more tapestry than living environment.  Then we can add other man made impositions, ghosts of utilities, power lines, imagined data paths, architectural plans, wiring diagrams and intimate blinking status LEDs. It seems to suite a  first person view, apart from narrative. 

What would be your advice be to young audiovisual enthusiasts who are keen to develop their careers in the industry?

Like the fine art world there are so many different strands of audiovisual arts. It will keep changing, entertainment will morph.  How and what ‘artists’ do v creatives and ‘technicians’ etc is complicated.  The EDM model was that music was the most important element – but now with performance more of an earner than record sales – maybe the creatives/technicians/, (not the artists)  are the main act.  To further confuse it all,  AV is crossing over with fine art and stage design etc.  So maybe listen to everyone and ignore them all.

Find out more about Overlap on their artist page

The post Overlap Interview appeared first on Audiovisualcity.

NEP Standardizes on Sony’s HDC-3500 and HDC-5500 4K HDR Live Production Camera Systems

Par Pipeline Communications

Sony Electronics Inc. today announced completion of an agreement with international outsourced technical production partner NEP Group for the purchase of more than 50 Sony HDC-3500L and HDC-5500L cameras. A longtime Sony customer and collaborator, NEP will use these products to support live sports productions and entertainment events worldwide, giving at-home viewers front row seats. ...

The post NEP Standardizes on Sony’s HDC-3500 and HDC-5500 4K HDR Live Production Camera Systems appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Overlap

Par Hayley Cantor

Born in the heart of the VJ boom in the 90s, after their own artistic experimentation, and Michael’s first ever (what we would call now) VJ gig in 1985, Michael Denton and Anna McCrickard formed Overlap in 1998. They are based in Hastings in the UK. Unlike some VJs, who purely focus on the visual side of the art form, Overlap are a an AV collaborative duo in the purest sense of the concept, who also produce minimalist music in parallel with their exploration of both moving and still image. They’ve also performed at many a festival, forming part of a collective of VJs represented by Microchunk.

Their work takes the form of live audiovisual performances, exhibitions, transitional paintings, installations, VJ sets and even prints, and takes on audiovisual culture from a fine art perspective, which makes their work both fascinating and unique in a wide variety of different contexts.

Overlap started VJ-ing and performing AV sets as regular guests of resident VJs Reality Check at Turnmill’s club (The Gallery, London Calling) in 1998, guesting with Reality Check at The Chemical Brothers’ headline set at Turnmill’s Millenium gig in London’s Docklands. The next decade saw Overlap’s visuals splashed across screens at major international festivals including Creamfields, Andalucia, Electric Picnic Ireland, Glastonbury’s Glade stage, Pete Tong’s Wonderland in Ibiza and Glastonbury’s Glade, as part of the Microchunk visuals boutique. They created visuals for for the Industrial Resolution installation at the first Manchester International Festival: performed live on the largest indoor screen in Europe, accompanying the world’s leading DJs including Carl Cox, Fatboy Slim, Laurent Garnier, Layo, Pete Tong and Sasha. Overlap also played regular VJ slots at Razzmatazz (Loft), Barcelona and Pete Tong’s Wonderland, Eden, Ibiza (Deadmau5, Groove Armada). Overlap were commissioned by Microchunk to animate Damien Hirst artwork for Pete Tong’s Ushuaia at Le Grand Bazaar, Ibiza in 2013. 

Overlap also work with the Noise of Art collective as resident VJ-s and moving image artists. Their fine art single screen video works have been screened at the ICA, BFI and Tate Modern. Recent projects include:- a celebration of 100 Years of Electronic Music at the National Portrait Gallery London; Forest Tree limited edition for Sedition Art; audiovisual “painting” installations for the National Trust’s Fenton House and Calke Abbey; opening the Arquiteturas Film Festival in Lisbon with their Places that Dance AV set; short films “Returning” and “Switch” awarded special mentions at the Avanca and EMAF film festivals; an audiovisual performance in the British Ambassador’s Residence in Beijing. Recent art screenings/performances of their works have included Aquatint at Riders on the Mall/ROM, MUSZI, Budapest and Digital Graffiti, Florida, Forest Tree at STRP Biennale at Strijp S in Eindhoven and Cloud Edged at Light Fantastic, House of Nobleman, Frieze.

Perhaps one of the most poignant aspects of their audiovisual artwork is its accessibility and ability to be embraced and engaging in such an extensive mixture of spaces, including performances and installations everywhere from music festivals (Creamfields, Splice festival, Madatac, Fiber, Generate, Big Chill, STRP Biennale); and night clubs (Razzamatazz, Barcelona, Wonderland – Eden, Ibiza), to prestigious galleries (Tate Modern, Pompidou, National Portrait Gallery, the Victoria and Albert Museum), as well as being featured in some important publications on VJ culture, such as Audio – Visual Art and VJ Culture (2006) They even remixed and VJed The Beatles Magical Mystery Tour film for its cinema première at the South Bank with Noise of Art at London’s BFI.

Their working process involves adding and removing layers, degrees of opportunism and systematised chance, creating generative combinations ranging from slow transitional paintings, to fast flowing AV performances. 

Their most recent work includes Transitional Landscape, designed for exhibition and art installation, ‘Rooms’, which explores the relationship between indoors and outdoors, combining and fusing luscious wallpaper motifs with beautiful organic landscape scenes. It juxtaposes man-made life with that of the wonders of the natural world.  

Find out more about their work here:

Website | Seditionart | Bandcamp | Vimeo

The post Overlap appeared first on Audiovisualcity.

⁣ ⁣⁣ ⁣#repost @studio_phormatik⁣ ⁣__________________⁣ ⁣⁣ ⁣We...




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⁣#repost @studio_phormatik⁣
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⁣We took a city icon, a vintage Ikarus bus, and positioned it on a prominent spot in Sofia. A 360° projection mapping installation created a unique spectacle for thousands of spectators.⁣
⁣#projectionmapping #publicart #installationart #lightart #3dmapping #immersiveart #lightinstallation #artandtechnology #3dmappingshow #modernart #abstractart #visualart #digitalart #outdoorinspiration #ikarus #millumin #gsgdaily #instaart #everyday #art_daily #sofia #phormatik #jokermedia #24_7production (at Sofia, Bulgaria)
https://www.instagram.com/p/B9nCn3BpmaJ/?igshid=1dm81kq4c3o4a

Mo-Sys Transforms Remote Production and Virtual Studios

Par Manor Marketing

NAB 2020, 19-22 April, Las Vegas, Booths C5047 and N5333: Mo-Sys Engineering, a global leader in real time camera tracking and camera remote systems, will demonstrate how to remotely operate cameras on the other side of the world, without perceived delay, with the launch of TimeCam. The solution will be shown onsite with a link ...

The post Mo-Sys Transforms Remote Production and Virtual Studios appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

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