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Blurring the boundaries between technology and the individual – Exclusive interview with Shoeg.

Par Hayley Cantor







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. 

Shoeg - Oudeis
Image from Shoeg’s project – Oudeis

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. 

Shoeg - skin
Image from Shoeg’s project – Container

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. 

Infiltrate - LEV Matadero
Infiltrate at LEV Matadero, photo by Hayley Cantor

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.

Human Experience Agency MOD Earns Three Creative Communication Awards

Par Ray Ecke

PHILADELPHIA, PA — MOD recently announced that the agency has been awarded three Creative Communication Awards (C2A) for its notable packaging and design work. The agency’s prizes include winning in the Luxury Products/Packaging category for its reinvention of Arcudi Wines’ limited-edition packaging, the Cause/Posters category for its campaign to raise awareness on homeless youth with Covenant House PA, and the ...

The post Human Experience Agency MOD Earns Three Creative Communication Awards appeared first on NAB Show News by Broadcast Beat, Official Broadcaster of NAB Show - NAB Show LIVE.

Shoeg (AKA Carlos Martorell)

Par Hayley Cantor


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.

Carlos Martorell by Xavi Casanueva

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.

SHOEG: Website
LINK BOX: Soundcloud / Bandcamp / Instagram / Youtube / Resonate


Header photo © Hayley Cantor

The post Shoeg (AKA Carlos Martorell) appeared first on Audiovisualcity.

Marta Verde on her live A/V show with Tensal, at LEV Matadero

Par 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.

Analog waves in the Nave at LEV Matadero
Analog waves at ‘la Nave,’ LEV Matadero, Madrid

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.

Marta verde and Tensal at LEv Matadero
Lights and visuals, Marta Verde’s live performance at LEV Matadero with Tensal

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. 

Analog video aesthetic by Marta Verde
Analog video aesthetic by Marta Verde, for Tensal’s show at LEV Matadero

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.

Intersections – The Frank-Ratchye STUDIO for Creative Inquiry Celebrates its 30th Anniversary

Par Greg J. Smith
Intersections – The Frank-Ratchye STUDIO for Creative Inquiry Celebrates its 30th Anniversary
In October CAN headed to Pittsburgh to toast the 30th Anniversary of The Frank-Ratchye STUDIO for Creative Inquiry. The event was accompanied by "Intersections," a dynamic group exhibition showcasing many of the anti-disiciplinary works produced within the labs. Here, we review the show and share details about various included works.

Marta Verde

Par Hayley Cantor

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-PradoLa Casa Encendida ,Fundación TelefónicaBAUUOC, and has mentored Hackatons at Makers of Barcelona with Ciclo.io.

https://martaverde.net/
www.instagram.com/martaverdebaqueiro
https://twitter.com/greenmartinha
https://www.facebook.com/martaverdebaqueiro

The post Marta Verde appeared first on Audiovisualcity.

Retour du Creative Cloud au Venezuela : revirement total pour Adobe (MAJ)

Par Shadows

Mise à jour du 29 octobre : Nous assistons finalement à un revirement total du côté d’Adobe. Le groupe annonce que son offre logicielle continuera à être disponible. Un changement de politique qui fait suite, explique l’entreprise, à « des discussions avec le gouvernement US », et l’obtention du droit de poursuivre la vente de ses outils, produits et services au Venezuela.

Les clients qui avaient vu leur abonnement annulé le retrouveront donc, avec en prime 90 jours d’abonnement gratuits. Ceux qui avaient déjà été remboursés pourront même, semble-t-il, conserver l’argent.

Publication initiale du 9 octobre :

Les vénézuéliens adeptes de Photoshop vont devoir se faire une raison : à la fin du mois, il leur faudra trouver un autre outil.

En effet, le gouvernement américain a fait passer en août dernier l’Executive Order 13884, un décret qui impose des sanctions économiques lourdes au Venezuela et ses citoyens. Ce blocus économique se traduit par des conséquences très concrètes dans le secteur de la création : Adobe, en vertu de ce texte, a décidé de couper tout accès au Creative Cloud dans le pays.

Adobe précise que tous les comptes liés au Venezuela seront désactivés le 29 octobre, à l’exception de la plateforme Behance. L’Executive Order n’ayant pas de date d’expiration, il est impossible de savoir combien de temps durera la situation : elle dépend entièrement du bon vouloir du gouvernement US.

Reste la question du remboursement. Adobe précise que les achats passés en direct seront remboursés d’ici la fin du mois, et l’éditeur indique faire de son mieux pour que ses revendeurs puissent faire de même mais sans garantir un résultat.

Si cette annonce ne concerne évidemment pas la France, elle rappelle que les enjeux géopolitiques peuvent avoir des conséquences bien réelles dans le milieu de la création.

L’article Retour du Creative Cloud au Venezuela : revirement total pour Adobe (MAJ) est apparu en premier sur 3DVF.

Blender Conference 2019 – Ubisoft, plantes et jeux : les vidéos des présentations

Par Shadows

La Blender Conference 2019 se tenait du 25 au 27 octobre à Amsterdam. Comme le veut la tradition, toutes les présentations ont été enregistrées et sont accessibles en ligne.

La liste est particulièrement longue : plus de 70 vidéos vous attendent ! Nous ne résistons pas à l’envie de vous en proposer une petite sélection (évidemment arbitraire) ci-dessous :

Blender chez Ubisoft, avec Pierre-Armand Nicq :

Une rencontre entre francophones :

Pipelines temps réel et courts-métrages :

Blender et la production TV avec Mathieu Rey de Tu Nous ZA Pas Vus :

Création de plantes :

Blender et les jeux AAA :

Blender en série TV, par Cube :

N’hésitez pas à consulter les autres conférences sur Youtube.

L’article Blender Conference 2019 – Ubisoft, plantes et jeux : les vidéos des présentations est apparu en premier sur 3DVF.

Pond5 Launches Marquee, a Premium Content Collection for Creative Agencies

Par Zazil Media

New York City, NY – October 22, 2019 – Pond5, the world’s largest royalty-free video marketplace, today announced the launch of Marquee, a new content collection on Pond5, made up entirely of premium-quality footage, found exclusively on Pond5 and hand curated to appeal to the most high-end creative agencies in the world. Each piece of ...

The post Pond5 Launches Marquee, a Premium Content Collection for Creative Agencies appeared first on NAB Show News by Broadcast Beat, Official Broadcaster of NAB Show - NAB Show LIVE.

Dell Blue Creates Visceral “Everything Counts” Spot For Alienware

Par priyapr

Dell Blue, the internal creative agency for Dell, recently created a thrilling :60 spot for Alienware, a provider of premium gaming laptops and desktops. Centered around the tagline “Everything Counts,” the spot features a cast of real-life gamers headlined by Yiliang “Peter” Peng a.k.a. Doublelift, a professional League of Legends player who currently plays for ...

The post Dell Blue Creates Visceral “Everything Counts” Spot For Alienware appeared first on NAB Show News by Broadcast Beat, Official Broadcaster of NAB Show - NAB Show LIVE.

Creative Seeds : l’école-studio, une autre façon d’apprendre l’animation et les VFX

Par Shadows

Nous avions eu l’occasion d’annoncer le lancement de l’école Creative Seeds, située à côté de Rennes. La première promotion de l’école a bouclé ses deux premières années de formation et entre dans sa 3ème et dernière année dans l’établissement : l’occasion de vous présenter plus en détail cette école atypique, dont le but est de former chaque année une trentaine de jeunes artistes prêts à intégrer un studio.

Creative Seeds rompt avec l’approche pédagogique classique de plusieurs manières. Tout d’abord, la spécialisation est précoce : chaque élève dispose de deux années pour explorer son domaine de prédilection.
Plus surprenant : l’école fonctionne comme un studio, avec des départements (animation, rigging, lighting, etc). Les élèves de différentes promotions y sont mélangés, et les enseignants font donc cours à des groupes de niveaux différents. Une approche qui, là encore, évoque le studio avec un lead qui fait progresser une équipe dont le niveau n’est jamais homogène.

Farfalla – production libre d’élèves de 2ème année

Cette philosophie studio se retrouve aussi dans une volonté de ne pas faire travailler les élèves chez eux.
Des projets personnels sont évidemment prévus, en solo (en particulier en première année, un projet solo complet permettant à chaque élève de trouver sa voie) ou en groupe. Dans ce second cas, il peut s’agir de films de commande (courts-métrages de pré-séance pour des festivals, à la manière des courts des Gobelins diffusés durant le Festival d’Annecy) mais aussi des courts libres. Pour les courts libres, l’idée est ici encore de respecter une approche studio : un élève spécialisé en rigging ne fera que du rigging sur un court, contrairement à ce qui se produit dans d’autres écoles. Par ailleurs, l’équipe pédagogique aide la promotion à cibler les objectifs en fonction des effectifs des différents départements : le nombre de personnages, l’ampleur du travail d’animation ou encore le nombre de décors sont ainsi adaptés pour coller aux possibilités concrètes.

Bien évidemment, dans un studio, les leads aussi sont censés travailler… Et justement, l’équipe pédagogique constituée d’artistes crée ses propres courts. De quoi faire de la veille technologique, mais aussi valider certaines approches : un des courts créés a par exemple été fabriqué avec les contraintes des films de première année.
Voici les courts déjà produits :

On pourra trouver plus d’informations sur le site de l’école, dont les tarifs (un étalement des paiements est possible, mais en raison de la jeunesse de l’établissement les bourses ne sont pas disponibles) et les modalités d’inscription. Les inscriptions commencent dès novembre, avec plusieurs sessions de sélection étalées jusqu’en été. Enfin, la galerie des élèves vous donnera une idée du niveaux des élèves en 1ère et 2ème année. La galerie de 3ème année sera créée dans le courant de cette année scolaire.

L’article Creative Seeds : l’école-studio, une autre façon d’apprendre l’animation et les VFX est apparu en premier sur 3DVF.

⁣ ⁣⁣ ⁣#repost @spunkyddog⁣ ⁣__________________⁣ ⁣⁣ ⁣You’re...




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⁣#repost @spunkyddog⁣
⁣__________________⁣
⁣⁣
⁣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
https://www.instagram.com/p/B3rPEAxJppd/?igshid=lm87fxe9bny7

Creative Seeds : l’école-studio, une autre façon d’apprendre l’animation et les VFX

Par Shadows

Nous avions eu l’occasion d’annoncer le lancement de l’école Creative Seeds, située à côté de Rennes. La première promotion de l’école a bouclé ses deux premières années de formation et entre dans sa 3ème et dernière année dans l’établissement : l’occasion de vous présenter plus en détail cette école atypique, dont le but est de former chaque année une trentaine de jeunes artistes prêts à intégrer un studio.

Creative Seeds rompt avec l’approche pédagogique classique de plusieurs manières. Tout d’abord, la spécialisation est précoce : chaque élève dispose de deux années pour explorer son domaine de prédilection.
Plus surprenant : l’école fonctionne comme un studio, avec des départements (animation, rigging, lighting, etc). Les élèves de différentes promotions y sont mélangés, et les enseignants font donc cours à des groupes de niveaux différents. Une approche qui, là encore, évoque le studio avec un lead qui fait progresser une équipe dont le niveau n’est jamais homogène.

Farfalla – production libre d’élèves de 2ème année

Cette philosophie studio se retrouve aussi dans une volonté de ne pas faire travailler les élèves chez eux.
Des projets personnels sont évidemment prévus, en solo (en particulier en première année, un projet solo complet permettant à chaque élève de trouver sa voie) ou en groupe. Dans ce second cas, il peut s’agir de films de commande (courts-métrages de pré-séance pour des festivals, à la manière des courts des Gobelins diffusés durant le Festival d’Annecy) mais aussi des courts libres. Pour les courts libres, l’idée est ici encore de respecter une approche studio : un élève spécialisé en rigging ne fera que du rigging sur un court, contrairement à ce qui se produit dans d’autres écoles. Par ailleurs, l’équipe pédagogique aide la promotion à cibler les objectifs en fonction des effectifs des différents départements : le nombre de personnages, l’ampleur du travail d’animation ou encore le nombre de décors sont ainsi adaptés pour coller aux possibilités concrètes.

Bien évidemment, dans un studio, les leads aussi sont censés travailler… Et justement, l’équipe pédagogique constituée d’artistes crée ses propres courts. De quoi faire de la veille technologique, mais aussi valider certaines approches : un des courts créés a par exemple été fabriqué avec les contraintes des films de première année.
Voici les courts déjà produits :

On pourra trouver plus d’informations sur le site de l’école, dont les tarifs (un étalement des paiements est possible, mais en raison de la jeunesse de l’établissement les bourses ne sont pas disponibles) et les modalités d’inscription. Les inscriptions commencent dès novembre, avec plusieurs sessions de sélection étalées jusqu’en été. Enfin, la galerie des élèves vous donnera une idée du niveaux des élèves en 1ère et 2ème année. La galerie de 3ème année sera créée dans le courant de cette année scolaire.

L’article Creative Seeds : l’école-studio, une autre façon d’apprendre l’animation et les VFX est apparu en premier sur 3DVF.

Creative Technology increases its PHABRIX Qx Test and Measurement inventory for Live Events

Par Denise Williams

PHABRIX, a worldwide leader in test and measurement solutions, is pleased to confirm that Creative Technology, an NEP Live Events company, has purchased a fourth Qx rasterizer for the company’s new portable production unit (PPU). The 4K capabilities and flexibility of feature set makes Qx a standard component of CT’s PPU fleet Creative Technology (CT) ...

The post Creative Technology increases its PHABRIX Qx Test and Measurement inventory for Live Events appeared first on NAB Show News by Broadcast Beat, Official Broadcaster of NAB Show - NAB Show LIVE.

Do Creative Agencies Need a Creative Director of Video?

Par Tanner Shinnick

Find the digital frontier's new direction with three ways a creative agency can benefit from having a Creative Director of Video.

Matrix and vCreative Extend Workflow Capabilities with New Integration

Par celiavine

Matrix, the only global ad sales platform built for media, today announced the completion of a new API integration with vCreative’s radio workflow software. The integration, available now, provides enhanced connectivity between Matrix’s media-specific ad sales platform, Monarch, and vCreative’s software, enabling users to seamlessly extend their workflow capabilities. As a result, users can more ...

⁣ ⁣⁣ ⁣#repost @asker⁣ ⁣__________________⁣ ⁣⁣ ⁣WOA presenta...




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⁣#repost @asker⁣
⁣__________________⁣
⁣⁣
⁣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.⠀⁣
⁣-⁣
⁣@woa_creativecompany ⁣
⁣@jessica_sala_jasminerouge ⁣
⁣#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
https://www.instagram.com/p/B2i9niopEta/?igshid=nof36s8bh9kf

⁣ ⁣⁣ ⁣#repost @asker⁣ ⁣__________________⁣ ⁣⁣ ⁣Abbiamo fondato...




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⁣#repost @asker⁣
⁣__________________⁣
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⁣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)
https://www.instagram.com/p/B1l0nepnL8p/?igshid=ompww2ifpw4l

FilmLight presents Colour On Stage at IBC2019

Par Caroline Shawley

  Free programme expanded to two days to provide greater opportunities to see industry leaders in finishing demonstrate their craft   LONDON — 13 August 2019: At this year’s IBC, FilmLight (stand #7.A45) is hosting the free two-day seminar series, Colour On Stage, on 14-15 September 2019. The event provides an opportunity for visitors to ...

creative.space’s //DEUS EX Gets Huge Performance Boost with Integration of NF1 Cards

Par Desert Moon Communications

Hybrid storage solution in creative.space platform adds speed and capacity with small form factor SSD Atlanta, GA – June 12, 2019 – DigitalGlue has announced that its //DEUS EX – the hybrid NVMe SSD and HDD media storage solution in its creative.space platform, is now available with NF1 (New Form Factor 1) for customers that ...

Compadre Welcomes Executive Creative Director Curtis Doss & Director of Creative Strategy Mika Saulitis

Par priyapr

Creative marketing agency Compadre has bolstered its creative team with the additions of Curtis Doss as Executive Creative Director and Mika Saulitis as Director of Creative Strategy. Doss will be responsible for leading design and creative teams while Saulitis will lead brand strategy, positioning, and marketing assignments for the agency. The two will work closely ...

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