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Nils Lemonnier, Technical Animator issu d’ArtFX

Par : Shadows

Fraîchement sorti de l’école ArtFX, Nils Lemonnier nous dévoile sa bande démo. Au menu : monstres, humanoïde mécanique, motion capture ou encore scripts Python.
Il faisait partie de l’équipe du court de fin d’études Time’s Down, avec un univers visuel cyberpunk.

Nils Lemonnier est en recherche d’un poste de type Technical Animator ; outre ses coordonnées en fin de bande démo, il dispose d’un CV sur 3DVF.

(nous en profitons pour rappeler aux studios que notre offre premium annuelle vous permet de consulter l’intégralité de la CVthèque, mais aussi de poster des annonces en illimité. Une promotion de 20% est proposée jusqu’au 30 septembre en utilisant le code « CGJOBS2020  » avant de valider le panier)

L’article Nils Lemonnier, Technical Animator issu d’ArtFX est apparu en premier sur 3DVF.

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Cooke highlights /i technology for full frame shooting

(September 17, 2020) One of the focuses for Cooke Optics for the remaining months of 2020 will be on demonstrating to its customers how its /i technology enables new technical solutions to age old problems. And few problems have been given as much of a twist in recent years as the problem of keeping focus ...

The post Cooke highlights /i technology for full frame shooting appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Avec « Traqué », le jeu Star Wars: Squadron se décline en court-métrage

Par : Shadows

Dans le cadre de la promotion du jeu vidéo Star Wars: Squadrons, prévu pour le 2 octobre sur PC et consoles, Electronic Arts s’est associé à Motive Studios (studio de développement en charge du jeu), Lucasfilm et ILM.

Le résultat : le court promotionnel Traqué, qui met en scène un soldat impérial en mauvaise posture.

La retraite de l’Empire après une attaque-surprise est un nouveau symbole de sa défaillance suite à la destruction de la deuxième Étoile de la Mort. Mais pour un des membres de l’escadron Titan, la bataille est loin d’être finie. Dans ce scénario indépendant de STAR WARS: Squadrons, Varko Grey, le leader de l’escadron, devient le dernier pilote TIE sur le champ de bataille. Il est chassé sans relâche par un X-wing rebelle de la Nouvelle République.

Star Wars: Squadrons proposera de réaliser des combats spatiaux en équipe ; rappelons que le support de la réalité virtuelle a été annoncé, sur PC et PS4.

L’article Avec « Traqué », le jeu Star Wars: Squadron se décline en court-métrage est apparu en premier sur 3DVF.

Panasonic Lumix S5 : petit mais puissant

Par : Thomas

Panasonic S5

La gamme S de Panasonic s’agrandit. Après la sortie des S1, S1R et S1H, c’est désormais le Lumix S5 qui fait son apparition. Un appareil photo hybride qui conserve l’ADN de ses aînés avec un capteur plein format dans un format compact. Capteur plein format de 24,2Mpx Double stabilisation sur 6,5 stops Enregistrement 4K à […]

Stephen Arnold Music and TradeCafe™ Leverage the Power of Sonic Branding

Bassett & Walker’s new cloud platform for trading agricultural commodities has a sonic signature that says “confidence, reliability and security.” DALLAS— As part of the launch of its new cloud-based trading platform, TradeCafe™, international agricultural commodities trader Bassett & Walker Inc. asked Stephen Arnold Music to create sonic branding that was memorable, conveyed security, confidence ...

The post Stephen Arnold Music and TradeCafe™ Leverage the Power of Sonic Branding appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Atomos releases free Ninja V update to enable 5.9K Apple ProRes RAW recording for Panasonic LUMIX S1H

(July 28, 2020) Panasonic has today enabled RAW over HDMI output from the LUMIX S1H 5.9K full-frame mirrorless camera – with Atomos adding an AtomOS Beta update for the Ninja V to enable Apple ProRes RAW recording specifically for the camera’s users. They can register to download the public Beta via the Atomos website and ...

The post Atomos releases free Ninja V update to enable 5.9K Apple ProRes RAW recording for Panasonic LUMIX S1H appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Xite Labs

Par : Marco Savo

Xite Labs is an audiovisual creative studio working at the intersection of art and technology, digital media and interaction design.

The team is formed by top-notch audiovisual artists who have left an unparalleled mark in the world of electronic music.

They have delivered off-socks-knocking 3D mapping installations since 2000, working with internationally renowned musicians such as Tame Impala, Infected Mushroom, Steve Aoki, Skrillex and Amon Tobin to name a few.

Audiovisual artist - projection mapping

We have been lucky enough to attend their mind-blowing audiovisual experience developed with Amon Tobin, for his international tour following the release of the album ISAM. That was back in 2012 at Sonar Festival in Barcelona.

Tobin’s avant-garde IDM soundscapes lead the way for the audiovisual storytelling who took the audience on a unforgettable journey. The show started with an otherworldly cube-shaped structure coming to life.

The stage then turned into a ship launched into space with Tobin residing in a hyper-sleep pod. After dream-like hallucinations Tobin comes out actually wearing the suits shown in the animation.

A complex audiovisual narrative that blurs the boundaries between real and digital world, firing all sorts of trickery to cleanse out the audience of all their spatial references. Only when we lose all the anchor points we are truly primed to experience the digital voyage.

ISAM takes us on a journey through the unexplored universe generated by the EDM soundscape of Amon Tobin to the bring us back to the core of the action: the musician and his performance.

In my opinion, Xite Labs major breakthrough is their ability to truly animate their installation, snapping out of the static AV sculpture by delivering an immersive experience where all senses are captured within the space.

Their audiovisual world is disorienting and astonishing as it builds up in front of our eyes, departing far away from the bidimensionality of the screen experience.

Audiovisual artists

Formed in the year 2000 as V Squared Labs by Vello E Virkhaus they have then merged with Tandem Digital Entertainment in 2018 to form XiteLabs.

Through the leadership of Greg Russell and Vello Virkhaus the audiovisual studio continuously executes next level experiential visual artistry.

The duo is always taking “never been done” concepts and turning them into reality. This process always starts with the blank page, and working with clients to define the words, scenery, illumination, content, interactivity, and the means to deliver it all.



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The post Xite Labs appeared first on Audiovisualcity.

⁣ ⁣⁣ ⁣#repost @nvs_av⁣ ⁣__________________⁣ ⁣⁣ ⁣Amazing...

⁣#repost @nvs_av⁣
⁣Amazing Experience at @fotonicafestival ⁣
⁣Thanks to all⚡️⁣
⁣@videosolid @nick_n__ck @fotonicafestival .⁣
⁣#techno #experimentalmusic #experimental #video #visualart #visual #vj #liveset #eurorack #conceptstore #concept #videooftheday #postoftheday #fotonica #festival #cinema #audio #electronicmusic #electronic #modularsynth #drum #nvs #performance #performanceart #color #cinema #vdmx #millumin #

The Future Group Unveils Significant Mixed Reality Advances in Pixotope Version 1.3

  Our object tracking software integration allows users to reach new levels of freedom while interacting with virtual elements on set   OSLO, NORWAY — 23 July 2020: The Future Group, creators of live photo-realistic virtual production system Pixotope®, today unveils its latest Version 1.3 software featuring a wide range of advances that significantly improve ...

The post The Future Group Unveils Significant Mixed Reality Advances in Pixotope Version 1.3 appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

GOGBOT: Enschede, 10 – 13 September 2020

Par : Marco Savo

Gogbot is an audiovisual event for creative technology, science, new media arts and music.

Out and about robots, hard-techno futuristic music, crazy bonkers live performances, audiovisual extravaganza with a general cyberpunk attitude to bond it all together.

All of this and much more is offered by Gogbot Festival, the techno-hardcore-sci-fi audiovisual event based in Netherlands.

Basically the kind of event we would go on a normal weekend if we were living in the Mad Max universe. The main aim of the event is showcasing the most avant-garde and cutting edge trends in the audiovisual and new media world. And then push a little further!

Gogbot - Audiovisual Event - Robotics
Compressorhead - Animatronics Band

There is nothing quite like Gogbot on the audiovisual scene: AI meets AV, Science meets music, art meets activism during 4 intense days of multidisciplinary activities across Enschede.

Every year, the organizers propose a controversial and thought-provoking theme set to trigger reflection in the community and cutting-edge experimentation by the selected artists. Innovation in digital creativity is key and the festival creates a sonic space for this.

Every year, the result is an insanely powerful and immersive artistic rendez-vous that leaves a lingering impact awhile after the end of the festival.

This year theme is Quantum Supremacy, a mind-blowing, controversial, but extremely urgent theme.

Big companies such as Google, Microsoft, and IBM are competing to build the first quantum computer, a ‘supercomputer’ expected to be a staggering one billion times faster than today’s best computer. What will the quantum future hold?

In this Age of Pandemic, we are made acutely aware of our dependence on digital technology for work, education, and healthcare. Now more than ever, the growth of digital technology demands critical reflection.

Globalization and economic growth have brought us pandemic and environmental destruction. How can we break this cycle? Can we harness quantum technology to protect ourselves and the world we live in?

Pubblicato da GOGBOT su Domenica 12 luglio 2020



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The post GOGBOT: Enschede, 10 – 13 September 2020 appeared first on Audiovisualcity.

L’application de chat VR vTime accueille timidement les vidéos

Par : Sitraka R
regarder des vidéis dans le nouveau pub virtuel de vTime

Avec sa dernière mise à jour disponible depuis vendredi, la plateforme de chat VR vTime permet désormais à ses utilisateurs de regarder des vidéos ensemble.

Toutefois, l’option se limite pour l’heure au visionnage de matchs de foot. Et même pour les plus footeux, l’offre risque d’être trop limitée puisque seules quelques séquences des rencontres de Manchester City sont disponibles. Cela dit, il ne s’agit que d’un début. Ainsi, le studio derrière l’application annonce d’ores et déjà des partenariats avec 7 autres clubs tels que New York City ou Melbourne City.

De fait, les utilisateurs pourront profiter de ces nouveaux contenus dans de nouveaux environnements où l’on regarde les matchs sur des écrans TV virtuels. Bien évidemment, l’idée est de recréer l’ambiance qu’on peut trouver dans les cafés au moment des grandes rencontres.

  • 174,99 € 299,99 € -42%
  • 10,99 € 15,00 € -27%
  • Chris Polczinski Serves Up the Sounds of Thrills and Chills with Lectrosonics

    Par : msmediainc

                  Los Angeles, CA (July 14, 2020) — Production sound mixer Chris Polczinski has a broad palette of horror and thriller credits to his name, including the Eli Roth-produced Haunt, Better Start Running, The Art of Self-Defense, The Strangers: Prey at Night, and most recently The Big Ugly, starring ...

    The post Chris Polczinski Serves Up the Sounds of Thrills and Chills with Lectrosonics appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

    Marshall Unveils Two New Zoom Block Cameras

    CV420-18X (4K60) and CV355-10X (HD60) Deliver Crystal Clear 4K and HD Images Respectively With Ultra-Low-Light Ability and Flexible SDI and HDMI Simultaneous Outputs TORRANCE, CA, JULY 13, 2020  ̶  Marshall Electronics announces the release of its CV420-18X and CV355-10X zoom block cameras, one with an impressive 12.4 million pixels designed into a 1/1.7” 4K sensor ...

    The post Marshall Unveils Two New Zoom Block Cameras appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

    Zixi and Harmonic Partner for Cloud-Based Video Delivery

    Zixi, the industry leader for enabling dependable, live broadcast-quality video over any-IP, and architect of the award-winning Software-Defined Video Platform (SDVP), today announced the integration of Zixi into Harmonic’s cloud-based VOS®360 Live Streaming Platform, the company’s fully managed offering for delivering and monetizing live streaming services with exceptional quality from source to screen. A worldwide ...

    The post Zixi and Harmonic Partner for Cloud-Based Video Delivery appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

    June 2020 TOP 5 Engagement

    Have you missed any popular Panasonic news? Here are the TOP 5 most engaged posts for June 2020.

    Learn How to be a Better Online Communicator at the Presence Summit

    COVID-19 has made video conferencing a necessity. Thanks to social distancing, Zoom, Skype, and other video chat programs are now essential for work and team communication. The problem is, most people haven’t had to use video conferencing tools so frequently to communicate with team members and coworkers. The struggle to effectively communicate online makes it ...

    The post Learn How to be a Better Online Communicator at the Presence Summit appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

    ARS ELECTRONICA: 9 -13 September 2020, Linz

    Par : Marco Savo

    Ars Electronica is THE new media arts festival: a core reference for audiovisual events and artists worldwide.

    The festival and its audiovisual artists embrace new technology as a tool for artistic expression rather than the main factor of spectacularization.

    This critical approach unlock the infinite creative possibilities within new technologies rather than fetishize them, as we have seen happening a lot with projection mapping and more recently with virtual reality.

    ars electronica -audiovisual event

    The festival was founded in 1979 by cyberneticist/physicist Herbert W. Franke, electronic musician Hubert Bognermayr, music producer Ulli A. Rützel and Hannes Leopoldseder. It has come a very long way since then but it has always kept its main focus on the intersection of art, technology and society.

    One of the most appealing elements of the festival is The Prix Ars Electronica: the most prestigious prize in new media arts, with hefty prizes up to 10.000€. Every year the Golden Nica is awarded to the ground-breaking fruits of artistic experimentation from audiovisual artists worldwide.

    Prix Ars Electronica - Audiovisual event - open call

    Ars Electronica features a wide variety of activities every year: Symposia, exhibitions, performances, concerts and interventions spanning a broad arc from speculative futuristic scenarios to analytical considerations, from provocative actionism to philosophical debate.

    Combining amazing artworks with fruitful conversations is the perfect recipe to create a meaningful experience that constantly scans the new media landscape to find the most inspiring projects. The projects are not simply chosen based on their technical realization but most importantly because the social and artistic innovation they incorporate.

    The result of this consistent endeavour is the creation of a loyal community of audiovisual artists, researchers and visitors from all over the world that every year reunites in Linz to inspire and get inspired.

     deep space live - fata morgana - audiovisual artists
    Deep Space LIVE – Fata Morgana

    Since its inception, the festival has been dedicated to develop new themes for each edition and the organizers are also constantly on the lookout for interesting new venues.

    Indeed, the ongoing effort to break out of the narrow confines of conventional conference rooms and artistic spaces, and to stage cultural and scientific encounters in the public sphere has become something of an Ars Electronica trademark.

    Stay tuned: Ars Electronica 2020 theme will be released soon!



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    The post ARS ELECTRONICA: 9 -13 September 2020, Linz appeared first on Audiovisualcity.

    Dejero LivePlus Mobile App Revolutionizes San Diego’s KFMB-TV Emergency Reporting

        KFMB-TV anchors, reporters, producers tap Dejero’s mobile app on smartphones to deliver live high quality broadcasts on the move, from breaking news scenes and from home Waterloo, Ontario, June 30, 2020 — Dejero, an innovator in cloud-managed solutions that provide Emmy® award winning video transport and Internet connectivity while mobile or in remote ...

    The post Dejero LivePlus Mobile App Revolutionizes San Diego’s KFMB-TV Emergency Reporting appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

    Jon Mendel Records the Sound of Vermont with Lectrosonics

    Par : msmediainc

    Burlington, VT (June 23, 2020) — Vermont may be known for skiing, Ben & Jerry’s ice cream, and jam-band demigods Phish, but the brave little state is also home to a tight-knit and thriving media production community. Here, Jon Mendel is one of the first sound mixers to get the call for any new project. ...

    The post Jon Mendel Records the Sound of Vermont with Lectrosonics appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

    Entre pandémie et faiblesses internes, Technicolor se restructure

    Par : Shadows

    Le groupe Technicolor, qui est pour rappel la maison mère de studios d’effets visuels et d’animation tels que MPC, The Mill, Mikros, Mr. X, annonce avoir enfin réussi à mettre sur pied un vaste plan de restructuration.

    Le plan a réussi à convaincre la majorité (66% environ) des créanciers du groupe, et devrait permettre au groupe de se refinancer à hauteur de 420 millions d’euros via la transformation en titres négociables de 660 millions d’euros de créances.
    Autrement dit, en restructurant sa dette, Technicolor va pouvoir récupérer plusieurs centaines de millions d’euros : de quoi faire face à ses besoins de liquidités.
    En parallèle, Technicolor annonce se placer en procédure de sauvegarde financière accélérée (SFA) via le Tribunal de Commerce de Paris, tant dis que du côté américain l’entité fait appel au « Chapter 15 », un système qui permet à une entreprise de protéger ses biens aux USA pendant qu’elle se restructure dans son pays d’origine.

    Cette restructuration fait suite à des difficultés multiples pour le groupe. Le secteur DVD de Technicolor, tout d’abord, qui fait évidemment face à une chute régulière de ses revenus avec l’essor du dématérialisé. En parallèle, la crise du Covid-19 a violemment frappé Technicolor et ses filiales, en raison de projets mis en pause et de productions repoussées, qui ont fait chuter de façon importante le chiffre d’affaire en matière de production et post-production cinématographique.
    Rappelons également que le groupe n’avait évidemment pas attendu ce plan pour commencer sa mutation. En fin d’année, MPC avait fermé brutalement son site de Vancouver (avec plusieurs centaines d’emplois détruits à la clé). Plus récemment, en mai dernier, Mill Film et Mr. X ont fusionné.
    Enfin, il convient de ne pas oublier que Technicolor et son ancien dirigeant Frédéric Rose doivent faire face à la justice française, dans l’affaire de la faillite de Quinta (nous avions évoqué le sujet en début d’année).

    Les détails financiers du plan de restructuration sont disponibles publiquement.

    L’article Entre pandémie et faiblesses internes, Technicolor se restructure est apparu en premier sur 3DVF.

    Star Wars: Squadrons, la galaxie a besoin de vous !

    Par : Shadows

    Electronic Arts dévoile la bande-annonce de Star Wars: Squadrons, futur jeu d’action dans lequel vous piloterez les plus célèbres vaisseaux de la saga.

    Après une campagne solo destinée à vous faire prendre en main TIE fighters et autres X-Wings, vous pourrez prendre part à des combats en 5 contre 5 ou vous joindre à d’immense batailles, sur PS4, Xbox One, Origin, Steam, Epic Games Store.

    Les fans qui espéraient une version en réalité virtuelle auront la joie d’apprendre que le jeu sera jouable en VR sur PS4 et PC.

    La sortie est prévue au mois d’octobre.

    L’article Star Wars: Squadrons, la galaxie a besoin de vous ! est apparu en premier sur 3DVF.

    What digital did next: Digital Arts and Social Distancing

    Par : Marco Savo

    How digital arts can unlock value and opportunity in a socially distanced cultural sector?

    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.

    Cultural consultants who met over Zoom to explore where their world’s crossed-over, and how their mix of experience could help artists, freelancers, and the arts sector as a whole to combat this unsettling time.

    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.

    Together with a multi-disciplinary group of experts who all have touch-points with digital arts experiences, Audiovisual City and The Revels Office ran a workshop to explore what role digital arts projects could play in the future of arts organisations.

    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…

    Case Study: Enjambre Cellular

    Developed by Mónica Rikić, Enjambre Celular is a project created and designed specifically for the Medialab-Prado interactive façade.

    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.

    Case Study: Distances

    Developed by Scenocosme, In this installation, two people in two separate physical spaces are filmed in real time by two devices.

    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.

    • Distances Scenocosme Audiovisual Artists
    • Distances Audiovisual Artwork

    Digital art vs digital design.

    To make informed choices about the use of digital, it is important to understand the distinction of digital art as an artform in its own right, and digital design as a tool for engagement.

    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

    What digital art and digital design have in common is their ability to bridge between traditional cultural content and modern, digitally aware audiences, and allow people to fully interact with the arts.

    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.

    Digital arts is the perfect solution for a hybrid cultural offering, connecting those experiencing it online and those there in person, allowing for smaller, safer groups to pass through it without losing the commercial, social and artistic benefits of scale.

    Case Study: Virtual Archive.

    Virtual Archive is a 3D, computer-generated environment open to interactive exploration by single users.

    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.

    • Digital Archive - Audiovisual Artist
    • Digital Archive - Audiovisual Artwork

    Case Study: Natural History Museum of Valparaisa.

    In the Introductory Room at Natural History Museum of Valparaíso, Chile, visitors meet an installation of naturalistic illustrations of flora and fauna of the region, highlighting the work of Claudio Gay among others.

    Developed by Delight Lab, this project was realised in partnership with the SUMO design and museum office for DIBAM.

    • Delight Lab - Museum Valparaiso - Audiovisual Artwork
    • Delight Lab - Museum Valparaiso - Audiovisual Artists

    It’s time to set the price.

    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.

    Digital comes with development costs, artist costs and new software and/or infrastructure requirements, among other operational demands. Digital content is by no means free to create, and so why is it presented as free to consume? There are two ways of looking at this dilemma.

    • Option 1 is to embrace the non-financial value that going digital presents: reaching new and much larger audiences, collecting insightful data, offering educational and social benefits, and adopting new methods in storytelling and human connection.

    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.

    • Option 2 is to revaluate and recommunicate the value of the digital experience, and set up platforms that give organisations the option to charge.

    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.

    Case Study: Fulldome Festival

    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.

    Case Study: Mutek San Francisco, Nexus Experience

    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.

    • MutekSF_Audiovisual_Event
    • Fulldome_Festival_Logo_Audiovisual_Event

    Demystifying the digital process (and budget).

    Digital arts experiences are impactful and memorable no matter what their size, from single exhibition displays through to city-wide festivals. While they can be huge and expensive, often a digital intervention is as cost-effective as a live experience due to the flexibility of the format, recouping investment costs over a far longer lifespan.

    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.

    Case Study: 400 Conejos.

    As part of the Bahidora 2018 festival, Medusa Lab created a unique experience for Ache Producciones and its client: Mezcal 400 conejos.

    Attendees received a complimentary drink of mezcal prior entering the dome, and once inside they discovered the mezcal making process through an immersive, colour-filled experience using animations and 360 video.

    • Medusa Lab - 400 Conejos - Audiovisual Artwork
    • Medusa Lab - 400 Conejos - Audiovisual Artist

    Case Study: Pinata Tweet.

    Piñata was a project made by MID for +Castro agency and the SAKE production company. The piñatas were installed as part of a collaboration with Trident Senses at Benicàssim International Festival.

    The interactive piñatas are controlled via Twitter messages sent by the audience. Every tweet contained #TridentSensesPinata, which activated a device that inflated the piñata. As messages accumulated, eventually the piñata exploded over the audience!

    • MID - Pinata Tweets - Audiovisual Artists
    • MID - Pinata Tweets - Audiovisual Artwork

    Audiovisual City and The Revels Office plan to now work together.

    We aim to connect arts organisations with digital artists and commercial partners, creating inspirational and viable projects in a time of pandemic.

    Together we will champion the skills, value and authenticity that digital art and digital tools can bring those looking to find new audiences and new revenue. Get in touch to discuss how these ideas could be applied to your own organisation –

    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.


    The post What digital did next: Digital Arts and Social Distancing appeared first on Audiovisualcity.

    Face aux conséquences de la pandémie, Mill Film et Mr. X s’unissent

    Par : Shadows

    Mill Film, entité du groupe Technicolor, n’est plus. Citant comme raison principale les conséquences de la pandémie avec « un marché du cinéma changeant » et « de nombreux projets suspendus indéfiniment », Technicolor annonce la fusion de Mill Film au sein de son studio d’effets visuels Mr. X.
    Mill Film, à ne pas confondre avec The Mill (également un studio VFX du groupe Technicolor), avait été lancée en 2018 en tant qu’unité dédiée au long-métrage.

    Les studios de Toronto, Montréal, Adélaïde et Bangalore restent ouverts. L’entité résultant de la fusion s’attaquera sans surprise à la fois au marché du film et de la série.

    Cette annonce fait suite, ces dernières semaines, à la destruction de centaines d’emplois au sein de différentes entités du grouper Technicolor (Mill Film, Mr. X mais aussi MPC).

    Voici l’annonce complète du côté de Mill FIlm :

    Effective today, Mill Film will be merging with MR. X. COVID-19 is changing the entertainment industry, the theatrical market is being re-imagined and many projects are currently on hold indefinitely. The merger is a direct and necessary response to align to the changing needs of the industry and creative partners, as productions begin again, and as the entertainment industry looks to move forward. The merger will bring together expertise and creativity from both brands into a stronger united front as the industry faces unprecedented times.  

    The newly combined, expanded studio will service clients across both film and episodic. Laura Fitzpatrick, MD of Mill Film, will move into a Managing Director role at MR. X, based in Montreal, with Dennis Berardi, founder of MR. X, assuming the position of Creative Director for the studio.

    The combined legacy of both studios serves as the foundation for MR. X going forward. The expansion of the studio’s talent pool paves the way for the team to share knowledge and best practices for delivering projects of all genres, formats and mediums.

    Thanks to each and every one of our crew members who have been a part of the Mill Film journey so far. All studios will remain open in Montreal, Adelaide and Bangalore.

    Et la brève annonce chez Mr. X :

    L’article Face aux conséquences de la pandémie, Mill Film et Mr. X s’unissent est apparu en premier sur 3DVF.