Core 5.4 enables 4K UHD encoding/decoding, adds extra two-way communication channel, and further enhances stream encryptions Waterloo, Ontario, July 15, 2020 — Dejero, an innovator in cloud-managed solutions that provide Emmy® award winning video transport and Internet connectivity while mobile or in remote locations, has announced the latest version of its Core software. Core 5.4 ...
The post Dejero Releases Latest Core Software to Boost its Video Transport Solutions and Streamline Live Video Workflows appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
Après un breakdown signé Image Engine et une interview de Chris Edwards de The Third Floor agrémenté de vidéos des coulisses par ILM, voici un nouveau making-of sur la série évènement de Disney, The Mandalorian.
C’est cette fois Hybride Technologies qui nous présente son travail. Comme l’explique le studio dans un article dédié, la confiance de Lucasfilm était logique, puisqu’Hybride a déjà travaillé sur l’ensemble des derniers films Star Wars, du Réveil de la Force à L’Ascension de Skywalker.
En pratique, le studio s’est vu confier le personnage d’IG-11, un droïde assassin, mais aussi la création d’environnements virtuels pour la ville de Nevarro et les Lava Flats, une zone volcanique désertique.
Pour IG-11, explique Hybride, le studio a pu participer aux étapes de conception. Hal Hickel, superviseur d’animation, voulait une machine évoquant un assemblage grossier de pièces de voitures et un design rétro faisant penser à un pantin désarticulé. Hybride s’est alors basé sur les concepts issus de la production pour créer un modèle 3D. Une version physique de ce dernier a été mise en place sur le plateau afin de vérifier que rien ne posait problème. Quelques corrections plus tard, un modèle définitif a servi de référence durant le tournage.
En termes d’animation, l’absence de visage représentait un défi ; il a fallu exprimer les émotions et pensées du robot uniquement par ses mouvements et déplacements.
La ville de Nevarro, située dans un désert volcanique, a été entièrement conçue par Hybride à partir de scans issus d’Hawaï et d’Islande : deux régions qui ont déjà inspiré de nombreuses oeuvres pour leurs décors.
Hybride précise avoir utilisé plusieurs textures haute résolution afin d’imiter la lave via de multiples réflexions et textures : l’idée étant d’obtenir un tout cohérent et composé de plusieurs types de sols et couches.
En ce qui concerne la ville elle-même, un ensemble d’éléments (façades, portions de sol, accessoires, tours, tourelles) rassemblés dans une banque d’assets ont servi à créer une douzaine de scènes. 250 éléments au total, précise Hybride, ont été intégrés à partir des références visuelles de la production. Afin de proposer un rendu plus naturel, une passe globale a été appliquée pour altérer les bâtiments : elle est censée simuler l’effet des intempéries atmosphériques sur cette bourgade vieillissante.
Au total, Hybride aura truqué 451 plans en 15 mois. Voici pour finir le breakdown vidéo :
Marco Savo from Audiovisual City and Kate Rolfe from The Revels Office have never met in person. Theirs is a true digital relationship born of the pandemic.
Audiovisual City is a digital magazine that promotes and supports audiovisual artists and events worldwide. Connecting hundreds of digital artists from across the world, it is the go-to place for inspiration and information when it comes to the application of digital technologies in artistic expression.
The Revels Office is a cultural consultancy who specialises in finding new revenue for the arts, advising organisations on commercial opportunities and uniting them with funding partners who value the unique, high quality content that only the cultural sector can produce. Together with a network of consultants -The Catalyst Network – the team at The Revels Office manage a range of projects at the intersection between arts and commerce.
At a time when the sector is anxiously remodelling their core operations to survive months of low visitor numbers, reduced income through established business lines, and a new, uneasy socially distanced experience, we wanted to investigate what untapped value digital arts might offer.
We share with you here a summary of our findings, designed to inspire you at a critical time, to offer valuable ideas to consider in your re-modelling plans, and to decipher the role that digital can play in a sector based almost entirely on live and tangible experiences…
It is a collective strategy game in which different levels and challenges must be overcome, based on the idea of a labyrinth. Controlled externally by passers-by, Enjambre Celular offers an example of a pandemic-proof artistic installation.
They are invited to have contact virtually within the same image, bringing them together face to face. The head-to-head image created by the software is trying to constantly reduce the proxemic distance between the two people, creating unique and ephemeral meetings with the other and making a connection even when physically apart.
Put simply – do you need to move your live content online for commercial, audience or safety reasons, or do you want to create a new interpretation of your content that will explore your stories in an entirely new way? Neither choice is right or wrong, but it will impact the outcomes you achieve, as well as the process you go through.
“The importance of concept is key; you must start with your concept and then chose the technology to match”Hayley Cantor
No solution is quicker for overcoming an image of being elitist, static or uninteresting than a digital initiative, so long as it is done well, has a clear purpose and audience, and so long as it incorporates some kind of live and/or unique element that ensures the digital is not simply a mimic of the live experience.
While digital design is fantastic for bringing to life educational and historic content, and is arguably simpler for translating to an online platform, where digital arts stands out is in the sensorial, emotive experience that they can create, lasting longer in people’s memories and creating a sense of community and harmony even if you encounter the art alone.
Via a VR headset, the user flies through a 3D data-point cloud formed, visualizing more than 1,700,000 documents present in SALT Research archive collections. Refik Anadol’s installation was displayed as an extension to the artist’s Archive Dreaming project.
The price we have paid for the vast amounts of thrilling, comforting and informative digital content that has been dispersed throughout the global lock-down, is the expectation that digital means free.
In this way there is still value, there are no barriers to audiences engaging with you, and you can use data and reach to collaborate with new funding partners, upsell products and services, and request donations wherever possible.
In this way we have seen a really positive response during the pandemic, with culture-lovers willingly paying for online experiences, seeing this as a charitable donation to save something they love rather than a charge for valuable entertainment. However this has not yet translated into a consistent approach that audiences and funders recognise, or indeed made up the huge gap in revenue that arts organisations face.
Given the high value outlined by option 1, it seems reasonable that – just like the expectation to pay for the cinema or a gig – you will have to pay to participate in digital cultural experiences. This transactional view may not sit well alongside arts experiences that are traditionally free, such as museum-entry, but this demonstrates the opportunity presented by digital arts as opposed to digital design; by creating a new experience on a new platform, arts organisations can create something of value to their audiences (and new ones), one which better warrants a participation charge.
Ultimately this is an argument of supply and demand, but what we endorse is a collective reassessment of how and when to charge for digital experiences, thereby protecting arts organisations and artists from giving away valuable content for free, especially when for a time this might be one of their only viable sources of revenue.
The oldest full dome projection festival has been held virtually for the first time this year due to the pandemic, charging a ticket price for the online experience. A courageous decision from the organisers who decided to go full steam ahead, offering a 360 view of the festival using VR headsets.
Mutek is one of the top audiovisual events worldwide, born in Montreal and then expanded through an international network. The San Francisco edition has been online this year with their ‘Nexus Experience’, hosting live AV performers on two stages, offering digital galleries, online workshops, and ‘viewing party’ film screenings. The event was free and open to donations, with 100% of the festival proceeds going directly to the artists.
For those who want to consider digital as part of their future plans, digital arts producer Steph Clarke shares some considerations:
• Once a digital installation, artwork or exhibition is installed, it can often run 24/7 with minimal staffing and low running costs. Not only can this make valuable budget savings, it also accommodates far higher audience numbers over time, and can easily be adapted to allow for social distancing measures.
• Digital works can easily have their content re-purposed to suit different objectives. Content can be refreshed regularly to suit seasonality, adapted for VIP or stakeholder events, and used for advertising purposes if required.
• It is relatively easy to scale digital work depending upon size of venue or audience size, meaning this approach can be considered for a variety of projects, places and budgets.
• Digital can be used to extend and enhance audience engagement before and after the event/exhibition itself, through engagement online and via apps, creating more touchpoints with your intended audience and opportunities to capture insights and data.
• By digitalising the content for a digital installation, you are simultaneously archiving it too, preserving it for future generations and achieving important cost-savings.
• Given the huge range of digital formats available – apps, projection, light shows, VR, AR – there will always be a format suitable for your budget, timescale and objectives.
As part of the Bahidora 2018 festival, Medusa Lab created a unique experience for Ache Producciones and its client: Mezcal 400 conejos.
This article was written by Kate Rolfe from The Revels Office and Marco Savo from Audiovisual City with contributions from Hayley Cantor (Audiovisual City Creative Director, Multidisciplinary Graphic Designer and VJ), Sean Carroll (Business Improvement Project Manager), Nicola Casperson (Brand Marketing, Events and Place-Making Consultant), Steph Clarke (Digital Arts Producer), Marta Minguell Colomé (New Media Artist, VJ and Photographer), Amy O’Brien (Events Producer), and Mónica Rikic (New Media Artist). Collectively our experience includes roles at the National Gallery, Natural History Museum, Secret Cinema, Battersea Power Station, Westfields, and London’s Philharmonia Orchestra.BUY US A COFFEE?
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Melbourne, Australia – 28 April 2020: Mediaproxy, the leading provider of software-based IP broadcast solutions, is helping its customers ensure their output of the highest technical quality at a time when many operational staff are having to work from home. The company’s compliance analysis and logging systems can be accessed remotely using laptop computers to ...
Los Angeles, CA (February 26, 2020) — One look at production sound mixer Chris Howland’s résumé, and it is evident that he is a seasoned veteran of films, TV series, and second-unit shoots of all kinds. Howland finds himself adapting on a near-daily basis to different locations, directors, crews, and talent. Recently, he manned the ...
The post Veteran Sound Mixer Chris Howland Saves Shoot After Shoot with Lectrosonics appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
PBT EU presents SubtitleNEXT as premium Sponsor at APTRAD in Portugal For immediate release – 18 February 2020, Sofia, Bulgaria – PBT EU is pleased to announce their presence as a premium sponsor at APTRAD, where they will hold a SubtitleNEXT Workshop over the two-day conference which takes place in Porto on the 3rd and ...
Two-time Emmy award winners to showcase new EnGo 260 mobile transmitter and support SMPTE ST 2110 workflows in Las Vegas Waterloo, Ontario, February 18, 2020 — Dejero, an innovator in cloud-managed solutions that provides Emmy® award winning video transport and Internet connectivity while mobile or in remote locations, is returning to NAB with an ...
The post Dejero to Showcase Latest Field Contribution, Content Distribution, and Connectivity Solutions at NAB 2020 appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
Globally recognized award underlines how Dejero exponentially improves flexibility in location coverage for newsgathering and live events crews Waterloo, Ontario, January 20, 2020 — Dejero, an innovator in cloud-managed solutions that provide award-winning video transport and Internet connectivity while mobile or in remote locations, has been awarded a second prestigious Technology and Engineering Emmy® ...
Good content is essential to the communication of any brand or voice. Grass Valley specializes in that area as it works to empower customers in creating, controlling and connecting content wherever, however, and whenever it is consumed. There will be plenty of content to consume at the Grass Valley exhibit this April at the ...