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Aujourd’hui — 7 août 2020Vos flux RSS

Webographie du jour : le Zeef du LeCollagiste

Zeef LeCollagiste

Un collecteur de liens, classés dans des blocs sur la thématique de l’image live sous toutes ses formes, VidéoMapping Software. Une liste de liens sur une seule page avec plus de 280 logiciels, applications et autre média serveur, des outils VJ’s, des tools NDI, Syphon ou Spout.

Méta moissonneur de liens collaboratif et curator VJ depuis 1999.

Zeef LeCollagiste

Webographie du jour : le Zeef du LeCollagiste est un billet de LeCollagiste VJ.
LeCollagiste VJ - Mag du LeCollagiste, actu sur la culture VJING, Vidéo Mapping, info video et high tech.

À partir d’avant-hierVos flux RSS

Cosmic Lab

Par : Marco Savo

Cosmic Lab is a multimedia studio formed by audiovisual artists and creators based in Osaka, Japan.

They combine art and technology to develop powerfully immersive audiovisual experiences.

We discovered this amazing collective thanks to ADAF 2020 and we fell in love straight away.

Cosmic Lab possibly represent the archetype of the audiovisual artist, rooted in the art world and the underground clubbing scene.

As many Japanese new media artists they are not afraid of experimenting and mixing up techniques and styles. As far is it’s punchy, alluring and visually stunning they will use it in their performances.

From immersive VJ sets to operatic projection mapping, from AV live graffiti to cutting-edge interactive installations. Cosmic Lab always achieves to captivate the audience and mind-blow even the more AV experts.

Here our top picks from their impressive portfolio of audiovisual projects:

Live Paint Showcase: “Magnetic”

Cosmic Lab - Audiovisual artists

As we said: no fear of experimenting. Here we see a very interesting fusion between hip hop and audiovisual culture.

At the opening event of MAGNET by SHIBUYA 109 “ShibuGekiSai”, Cosmic Lab and Doppel collaborated on a performance combining live painting and video projection.

The 3D video cubes are animated in motion graphics by the audiovisual artists guiding the graffiti artists on the patterns they will fill with their spray cans.

The DJ spins tunes throughout the performance linking graffiti and projection through the overall hip hop groove.

Buddhist Chant and Light Performance

An audiovisual feast and a once-in-a-lifetime experience to celebrate the Koyasan’s 1200th anniversary (The center of Shingon Buddhism).

We see something truly remarkable and unique: a fusion among the vibrating tones of the Buddhist chant, Japanese drums and an elaborate projection mapping.

Under the musical inputs and the AV latest technologies the great Pagoda comes alive. The result is spectacular, mesmerizing and sumptuous to honor the ancient tradition of Japanese Buddhism.


Here Cosmic Lab went a few steps ahead by reinventing the way of making AV live performances through a new tool called QUASAR.

It loosely reminded us of the Reactable Machine, developed in Barcelona in 2003 to make music through physical interaction.

In this next-generation AV instrument, each musical measure is not interpreted in a linear fashion, but as an endless loop.

Also the tangible interface gives a physical structure to the AV content making possible to build rhythm and layers in all new intuitive physical way. Impressive!

Cosmic Lab - Audiovisual artists



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The post Cosmic Lab appeared first on Audiovisualcity.

Que pensait The New York Times de la Pippin en 1996 ?

Je suis tombé récemment sur un vieil article de The New York Times qui parle de la Pippin, en 1996.

La première partie est intéressante, car elle met en avant le positionnement hybride de la Pippin : elle est trop onéreuse pour une console de jeu (~600 $ à l’époque) et pas assez puissante comme ordinateur, même pour le prix. L’article confirme par ailleurs que Bandai et Apple avaient de grands espoirs : 500 000 ventes sur la première année aux Etats-Unis et au Japon. Pour rappel, les chiffres officieux donnent 42 000 ventes dans les deux pays au total (donc en gros sur deux ans). Visiblement, Apple voylait la console comme un « Network Computer », un concept qui n’a pas été abandonné par la suite, tout du moins pas directement : l’iMac devait en être un au départ.Il faut dire que la console valait vers 600 $, donc, et permettait de surfer avec son modem (14 400 puis 28 800 et 33 600 bauds), quand un ordinateur valait facilement le double ou le triple.

L’article indique aussi que Samsung avait été approché pour proposer un téléviseur avec un Pippin intégrée. La fin est assez lucide tout de même sur les risques d’échec, en citant le CD-i de Philips (largement plus vendu que la Pippin, d’ailleurs) ou la 3DO. Et de fait, la Pippin ne pouvait pas lutter contre la PlayStation ou la Nintendo 64, et en tant qu’ordinateur, c’était assez léger. Et comme rappelé, la console n’a ni lecteur de disquettes, ni clavier par défaut, deux accessoires pratiquement indispensables pour surfer, et qui augmentaient le prix. En clair, même avant son lancement (l’article date de mars 1996), beaucoup de gens pensaient déjà que le concept était vain.


Par : Marco Savo

DEADLINE: 13 September 2020

The Iberian Peninsula has been a hotspot for audiovisual culture and new media arts for many years.

Groundbreaking events such as LEV Festival and Sonar (just to name a couple) have left an indisputable mark in the international AV panorama.

UMBRA Light Festival is a new audiovisual event in Vitoria-Gasteiz celebrating its second edition in February next year.

UMBRA is launching an open call for all audiovisual artists working the field of Light Art.

Umbra Festival - Open call
If you feel like exhibiting your work in the beautiful Basque Country, surrounded by lovely people and delicious food… Well, this might just do the trick!

The festival showcases projection mapping, audiovisual installations and light sculptures in order to develop a dialogue between new media and the urban context of the Basque Country capital city.

The participants have total freedom regarding the proposal theme. However proposals addressing environmental issues and/or United Nations  Sustainable Development Goals (SDGs) will be highly valued by the jury.

These will be the main focus of the 2021 edition of UMBRA Light Festival.  The installations will be selected accordingly to the sculptural value and interactive implementation of art and light.

Umbra Light Festival - Open call
Javi Erriera - Berdeko Konstelazioa

The selection process will be finalized within one month after the submission deadline. All finalists will be notified individually by e-mail

The artists may present proposals as an individual and/or collective. There is no limit to the number of members per team, however each proposal requires a distinct form and must be completed accordingly.

The Jury or selection committee, appointed by Argia_3, is made by professionals from lighting design, public space intervention and the Light Art sectors.

The Jury shall take into account the artistic quality, originality, innovation, and themes regarding sustainability (SDGs), as well as features of the artwork regarding the actual set up within the festival capabilities.




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The post UMBRA LIGHT FESTIVAL: Open Call appeared first on Audiovisualcity.

Broadcast Pix Announces 0% Financing on StreamingPix Systems

(July 29, 2020) Broadcast Pix™ announces a partnership with North Star Leasing to offer competitive financing packages for its entire range of solutions. The partnership is being kicked off with a Summer Promo Package of 0% financing on StreamingPix, the complete live production, and streaming solution. Get everything you need to stream your live event, ...

The post Broadcast Pix Announces 0% Financing on StreamingPix Systems appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Interview to VJ Suave

Of course we couldn’t hold ourselves from interviewing this beautifully talented duo of audiovisual artists.

We have never hidden the fact we particularly love the playfulness and delicacy of their AV style. Their street art itinerant approach open the door to a myriad of creative opportunities.

Throughout the years (while keeping fit cycling their AV bikes) they have been engaging with audience of all ages and backgrounds. Here our interview to VJ Suave: enjoy it!

0. How did you meet and decide to work together on this beautiful project?

We met in 2009 in Buenos Aires, and we’ve decided to work together. Cecilia comes from animation and Ygor from painting and drawing. We mixed our best and created VJ Suave.

Interview to VJ Suave - Audiovisual artists
1. How have your techniques advanced since the beginning of your career? What specific technological tools have enabled you to express yourself in a different way because of this?

In the beginning, we took a class on how to use Modul8 and it blew our minds. Cecilia came up with the idea to animate Ygor’s drawings and. Using a small projector, we’ve projected the animations from the window on the street outside.

At that time, we used Adobe Flash, After Effects and Photoshop for animation. Later on we met Maki, and he introduced us to Tagtool, a tool to draw and animate in real time.

The first version of Tagtool was a DIY thing, you needed to have a wacom, arduino, knobs and sliders, ps2 controller, all connected to a computer and a controller box.

You needed to build it yourself, it was a bit complicated. Later on Maki and his crew started to develop Tagtool for iPads and we fell in love with it.

Most of our animations are made frame by frame, using Flash, and this takes time and people to work. Tagtool is easier. It’s a tool that allows us to create drawings and animation by ourselves in a short amount of time.

We also started to investigate virtual reality. In 2017 we’ve created Floresta Encantada / “Enchanted Forest”, an interactive VR experience.

The VR is a very immersive solo experience. You actually believe you are inside a different reality. In Floresta Encantada, together with our crew, we’ve created an experience where participants are teleported to a magical forest where they can interact with both characters and the scenery.

They can play instruments near a bonfire and even drink medicine from a shaman. Each experience is unique as the map is very big. Some people say that they saw a spaceship, others say they had a trip on mushrooms, experiences which are rare in the map. At thee end of the journey all travelers come back to reality with a big smile.

2. Your work with the Suaveciclo is possibly the one thing that you are most well known for in Europe. What was the original thought behind the idea and did you realise how successful the concept would be when it first occurred to you?

In 2011 we created 2 short movies, Run and Homeless. They were very experimental because it was our first time trying to move the projections. The videos have been showcased by MTV and received a great response.

We were happy and we wanted to keep doing moving projections. Instead of keeping on creating videos we wanted to try the performance format, so people on the streets could see it live. 

Instead of a car, we thought of a way that could be affordable to us, first a bicycle, and then finally the tricycle as our moving base to project from.

Interview to VJ Suave - Audiovisual artists

Suaveciclo was created to be able to move our animations throughout the city, bringing joy to everyone who happens to be around. As we don’t use background in the projection the characters look more alive, with a digital graffiti style.

The idea was to take the characters out of the TV screen and make this colorful universe that was inside our heads to merge it with the real world.

When we started VJ Suave back in 2009, we did a lot of research into the VJ world and, at that time, it seemed to us there was no character animation in the VJing scene.

It felt like a perfect gap for us to fit in. From then till now, we keep on doing what we love, what is true for us and we believe anything made like that will always be successful.

3. What technical issues did you encounter when you first came up with the suaveciclo setup? How do you feel about other artists using this idea in their performances?

There have been a lot of adaptations till we got to the actual version of Suaveciclo. First version was very heavy, had small sound speakers and an overall flimsy structure for the projector.

We also had issues as we bought the wrong batteries (now we only use deep cycle batteries). We now have 2 tricycles in São Paulo, one for Ygor and one for Cecilia. What we use now is actually the 5th version.

A few months ago we finally installed an electric battery to help us doing the cycling. It’s also equipped with great sound speakers and a tripod head adapted for the projector.

We like the idea of more visual artists working with images in movement throughout the city. We encourage and help people around the world to build an audiovisual tricycle to express themselves. 

4. Do you remember what first drew you to the audiovisual world? What do you think you would be doing now if you hadn’t discovered the art of video projection?

Ygor: VJ Suave was the starting point for me. Thanks to that I developed my career in animation, creative technology, virtual reality and music. If it wasn’t for it I would still be doing graffiti on the city walls, or maybe working in the forest.

Ceci: I would be applying technology to some other area, maybe holistic health.

5. How is the world of video art in Brazil? Is there a big scene, or is it something quite unusual? Is there anything about your artistic context that you feel influences your work?

Nowadays it is blooming. During the isolation, many audiovisual artists from all over Brazil started to project videos on building walls outside their windows. They have come together and created a group called Projetemos. Thanks to this group, we can share our animations to be projected in different cities. 

Great artists have come out of Brazil like VJ Spetto, VJ Vigas, United VJs, and there’s definitely a scene for vjing and videomapping!

6. What has been the most exhilarating experience or biggest achievement for you? What are you most proud of?

We are proud of having been able to show our art in more than 20 countries at different kinds of audiovisual events: film, street art, animation, music, bike, art technology and light festivals.

If VJ Suave had a little bit of each event, we would be defined by this mix which is something new with technology, animation and movement. 

With Suaveciclo we can create magical moments. We gather people to see the city in a different way, more imaginative. We colour the path with light, expressing love. We think this can open people’s hearts, at least for a second. 

7. A lot of your animation work has an infantil theme with bright colours, organic shapes and friendly faces. Would you say that children are your main audience, or at least, that they are who you most have in mind when you come up with the narratives for your work?

Interview to VJ Suave - Audiovisual artists

We don’t have a specific audience in mind. We create what we are able to express. Sometimes it is naive with simple forms, sometimes it can be more complex. 

Regarding the colours, we have the limitation of the projector. For Suaveciclo performances we carry a 5.500 lumen projector, which is very bright and powerful for a tricycle. However darker colours can be difficult to project. That’s why our colour pallet is always bright, with high contrast and saturation. 

Kids are essential for our performances, because they appreciate magical beings. They want to play with the characters. When they do, adults start to believe in that magical moment too: when kids are yelling and chasing our enchanted characters. 

VJ Suave on Audiovisual City


The post Interview to VJ Suave appeared first on Audiovisualcity.

Clubbing in the COVID-19 era: How 5 Eastern European countries are reacting to coronavirus

If there has been one event in the past 25 years that has been absolutely catastrophic to the nightlife industry, it’s COVID-19. With a death toll that is now well over 600,000, stringent travel restrictions, and even a few all-out lockdowns, it is easy to see why many local nightlife scenes have been totally decimated. […]

The post Clubbing in the COVID-19 era: How 5 Eastern European countries are reacting to coronavirus appeared first on DJ TechTools.

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.

Une série de vidéos sur la Pippin d’Apple et Bandai

La chaîne Video Game Esoterica propose une série de vidéos (elles ne sont pas encore toutes en ligne) sur la console d’Apple et Bandai.

Pour le moment, il y a deux vidéo, mais l’auteur indique qu’il compte en faire une dizaine. A noter qu’il analyse un prototype de console, mais c’est un modèle assez proche de la version finale en dehors des stickers pour le marquage et de la carte “RAM” de 4 Mo (jamais sortie).

La seconde vidéo parle de Super Marathon, un jeu souvent montré sur la Pippin mais paradoxalement sûrement le moins joué à l’époque. Il est sorti pour la version américaine de la console, en petites quantité, et les versions originales valent (très) cher actuellement.

Je mettrais les autres vidéos ici quand elles sortiront.

⁣ ⁣⁣ ⁣#repost...

⁣#repost @delight_lab_oficial⁣
⁣Intervención lumínica de anoche sobre la Torre Telefónica en apoyo al pueblo de Palestina y rechazo a la anexión que se le quiere imponer. Chile es el país con mayor población de palestinos fuera de su territorio, mandamos desde acá un gesto de apoyo y resistencia al pueblo de Palestina y a su gente que vive acá y en el resto del mundo. Compartimos un poema palestino de Casey Cadao del 2016. ⁣
⁣Sueño de Libertad⁣
⁣Acuéstate conmigo⁣
⁣y escucha mi canción⁣
⁣De amor y pérdida⁣
⁣De mal terrible⁣
⁣Una tierra de aceitunas⁣
⁣Una tierra de cidra⁣
⁣Una tierra de naranjas y limones⁣
⁣Acuéstate en mis brazos⁣
⁣Hij@ de bendiciones⁣
⁣Sueño de nuestra tierra⁣
⁣con un profundo deseo⁣
⁣Suelo rico, agua clara⁣
⁣antiguo como los olivares⁣
⁣Mientras tenemos hambre y sed⁣
⁣recuperar nuestros recuerdos⁣
⁣Todo para ti hija⁣
⁣Nuestro hogar robado.⁣
⁣A Light intervention last night on the Telefónica Tower in support of the people of Palestine and rejection of the annexation. Chile, the country with the largest population of Palestinians outside their territory, we send a gesture of support and resistance to the people of Palestine. We share a palestinian poem by Casey Cadao from 2016.⁣
⁣Freedom Dream⁣
⁣Lie here with me⁣
⁣and hear my song⁣
⁣Of love and loss⁣
⁣Of dreadful wrong⁣
⁣A land of olives⁣
⁣A land of citron⁣
⁣A land of oranges and lemons⁣
⁣Lie in my arms⁣
⁣child of blessings⁣
⁣Dream of our land⁣
⁣with a depth of wishing⁣
⁣Rich soil, clear water⁣
⁣ancient as the olive groves⁣
⁣As we hunger and thirst⁣
⁣call up our memories⁣
⁣All for you daughter⁣
⁣Our stolen home.⁣
⁣#savepalestine #noalaanexion #freepalestine #palestinalibre #caseycadao #palestinalibre #palestina #chiledesperto #annexation #palestino #chile #politicart #artepolitico #videoprojection #videomapping #lightart #lightintervention #chileayudapalestina #savepalestine #kufiyya #hattah #trap #millumin #confinamiento #pandemia #covid19 #chile #poesia #poetry (at Chile)

⁣ ⁣⁣ ⁣#repost @u.machine⁣ ⁣__________________⁣ ⁣⁣ ⁣Deformation...

⁣#repost @u.machine⁣
⁣Deformation #Umachine #digitalart #dance #mapping #videoprojection #art #picoftheday #instadance #audiovisual #installation #umachine #artist #audiovisualperformance #show #interactiveart #generativeart #madewithsmode #millumin #realtimevideo

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.

Entre actualité et voyage futuriste, les nouvelles oeuvres d’Olivier Caron

Par : Shadows

L’artiste Olivier Caron nous dévoile ses derniers projets :

  • Vado Mori, une « réflexion sur les événements des derniers mois ». Olivier Caron nous précise qu’il voulait « recréer l’ambiance des grands retables peints à l’huile, mais en appliquant un traitement plus moderne et en mettant en scène des personnages archétypaux représentatifs de ce que nous avons vécus lors du déconfinement et des émeutes aux USA ».
  • Faces of Tomorrow, de son côté, est une série de portraits futuristes réalisés en un mois, dans le but de se former à Substance. Olivier Caron explique qu’il s’aventure rarement dans le genre SF en tant qu’artiste mais souhaitait néanmoins lui rendre hommage, cet univers ayant eu une grosse influence sur lui durant son adolescence.

L’article Entre actualité et voyage futuriste, les nouvelles oeuvres d’Olivier Caron est apparu en premier sur 3DVF.

Les jeux Pippin fournis avec une disquette

J’en ai déjà parlé, la console Pippin pouvait être liée à un lecteur de disquettes (optionnel) et pas mal de jeux peuvent sauver des données sur ce média. Mais il y a des jeux qui étaient fournis avec une disquette, en plus du CD-ROM.

La console intègre un peu de mémoire flash (128 ko seulement) et n’a pas de carte mémoire, comme les autres consoles de l’époque. Pour le stockage externe, il n’y a que deux solutions : les disquettes ou les disques magnéto-optiques. La disquettes reste le média de choix : elle est peu onéreuse, permet de stocker 1,4 Mo de données (11 mégabits si on compte comme les Sony et les autres) et permet un échange rapide avec un Mac. Les jeux permettent donc souvent de sauver des images sur disquettes, parfois d’autres données, mais c’est rarement obligatoire. En gros, c’est un bonus pour profiter de vos créations.

Tamagotchi CD-ROM

Le premier jeu que j’ai eu avec une disquette est Tamagotchi CD-ROM. Je l’avais expliqué dans le test du jeu, elle ne contient qu’une image et pas de données pour le jeu Pippin, à ma connaissance. Par contre, elle est nécessaire pour installer le jeu sous Mac OS, dans un vrai Mac.

Gokigen Mama no Omakase Diary

Avec ce titre, c’est plus compliqué. Il y a une disquette dans la boîte du CD, et elle est obligatoire. Il faut donc le lecteur (ou utiliser la version que j’ai fabriquée avec mon ancien collègue). La disquette d’origine n’est pas nécessaire (je n’avais pas vu celle cachée dans la boîte…) mais il faut une disquette. Bonne nouvelle, on peut utiliser la disquette pour passer de la Pippin à Mac OS. La disquette de mon exemplaire du jeu contient des données, mais ce sont visiblement des sauvegardes. Vu les dates, il s’agit des sauvegardes du précédent propriétaire du jeu. Du coup, je suppose qu’elle arrive vide, mais sans en être certain.

@Card SD Gundam Gaiden

C’est le dernier titre livré avec une disquette à ma connaissance. J’ai récupéré le jeu récemment, et elle est vide. De ce que j’ai eu comme information, et en regardant les dates sur les fichiers cachés et générés par Mac OS, c’est a priori normal. Vu les dessins, la disquette servait pour les échances entre les joueurs, que ce soir sur Pippin ou sur Mac.

De ce que j’ai comme information, ce sont les seuls titres fournis avec une disquette en plus du CD-ROM, mais il est possible que d’autres soient découverts un jour.

Nightmares in Clubland: Alex Nepa’s Worst DJ Gig Ever

DJTT author Matthew Takata sits down with veteran club DJs to ask them about their dreaded “worst night ever.” Often in life, our best lessons come from our biggest blunders, and also leave us with a few funny stories all the while. This month, he spoke with Alex Nepa, a mixed format DJ operating out […]

The post Nightmares in Clubland: Alex Nepa’s Worst DJ Gig Ever appeared first on DJ TechTools.

Jonas Denzel Interview – Genius Loci Winners

Par : Marco Savo

Meet the audiovisual artist behind THE SHAPE OF SOUND, projection mapping on the facade of the new Bauhaus Museum in Weimar.

We said it many times: audiovisual is vast and complex, and within audiovisual the different techniques branch out to a myriad of different styles and expressions.

Jonas Denzel here really embraced the think-outside-the-box approach delivering something unique, engaging and playfully attractive.

The projection might not strike at first impact. Nevertheless as soon as you pick up the complex audiovisual interaction and sound design, you realize that you haven’t quite seen anything like that before.

The protagonist is the hand, the starting point of the artistic expression. From a simple gesture the whole audiovisual narrative takes over the building, truly engaging with the audience by inviting them to play along.

As part of our series about the Genius Loci Weimar 2019 winners, our young journalist Marta Minguell asked the creator about his creative process and how he approached the audiovisual event open call.

1. Can you tell us about the interaction design process that is so prominent in this projection mapping artwork?

For me as an artist it is important to let the audience become part of the projection. They should not only look, they should have the chance to actively participate. The interactive part of the projection is based on a musical pattern: it’s called Call and Response.

Basically, one person claps a rhythm and the crowd responds by clapping the same rhythm. In “The Shape of Sound” hands on the façade animate the audience through gestures to participate and rhythmically respond.

It’s a game of call and response. The viewers communicate with their hands. It’s a dialogue between them and the new Bauhaus Museum. By responding to the façade, the audience completes the projection. The rhythms are arranged in a way that they become increasingly difficult.

The simple beginning encourages as many spectators as possible to participate. The increase of rhythmical difficulty is not only challenging but also fun for the audience. It creates a feeling of community.

Genius Loci Winners 2019 - Audiovisual artists
Photo Credits: Henry Sowinski
2. The piece celebrates the power of the gesture as an essential tool to create images and sounds. Which have been your sources of inspiration both in music and visual art for this piece and how did you link them together?

Hands are the oldest tools of mankind. They assist us in our everyday life: to work, to communicate, to make music, etc. The work “The Shape of Sound” is mainly inspired by playing drums.

“Body percussion” is a form of drums, where only hands are used to create rhythms and sounds on the body. I translated this to the new Bauhaus Museum and the projection. One can say it’s now no longer “Body Percussion” but actually “Bauhaus Percussion”.

Sören Schaudel and Jonas Denzel - Audiovisual artists
Photo Credit: Jonas Denzel

The building transforms into an oversized instrument which is played by hands. For me it’s important that not only the visuals but also the sounds refer to the building. This is why the sounds were directly recorded at the new Bauhaus Museum facade.

Together with sound designer Sören Schaudel, sounds and rhythms were recorded on the actual building by knocking on windows, stroking on rough walls, drumming on railings, anything that makes sounds.

These sounds are then arranged in a composition which is an interplay of image and sound. Recording the sounds on the façade is an essential and inspiring part of the design process of the projection.

Genius Loci Winners 2019 - Audiovisual artists
3. Can you share with us your creative approach when submitting an artwork to an open call?

First of all, I study the building, the architecture and its history. I then take a close look at the facade and its architectural structure to imagine what kind of musical instrument the building could be transformed into and how it could sound like.

In the specific case of the new Bauhaus Museum, the fine horizontal architectural lines on the facade were used to create a keyboard which then transforms the building into a huge piano played by over-dimensional hands.

Genius Loci Weimar

Interview to Genius Loci Weimar

The post Jonas Denzel Interview – Genius Loci Winners appeared first on Audiovisualcity.

Create Seamless Background Loops in After Effects

Learn how to create seamless background loops in Adobe After Effects. This tutorial also includes free project files. Follow through and practice!

The Story Behind a Royalty-Free Music Track

Creating an outstanding piece of music takes a mix of technical skills, strong emotion, and the ability to turn that emotion into sound. Here’s how a music ... and Soundselektor Interview – Genius Loci Winners

Par : Marco Savo

Meet the audiovisual artists behind REMAKE³, projection mapping on the facade of the German National Theatre (DNT) in Weimar. are absolute masters of the video mapping technique while Soundselektor crafts unique soundtracks intertwined with the visual narrative.

The audiovisual duo has a very analytical and technical approach to the audiovisual art. Their aim is to get as close as possible to the architecture and its role within the urban environment.

The result is a mind-blowing explosion of structural elements hitting hard on the viewer’s senses. Every single element is visually enhanced and undergoes numerous levels of abstractions, constantly oscillating between the architectural and the geometrical.

We had the chance to see their artwork NUCLEUS³ live at Signal Festival 2018. An audiovisual thunderstorm infusing every element of the facade with vibrant life: another of their masterpiece!

As part of our series about the Genius Loci Weimar 2019 winners, our young journalist Marta Minguell asked the creators about their creative process and how they approached the audiovisual event open call.

1. Can you tell us about how you constructed the abstract story-line for the visual narrative and the relationship with the sound experimentation?

The graphics are buildings on top of each other, they slowly evolve from simple to complex. The journey is the destination. We visualize our work-process as a part of our creation.

Our work is multi-layered. Each layer describes a fragment of a topic. By adding the layers on top of each other we create a multi-topic collage. 

In the first layer, the absolute beginning, we chose the main “topics” to work on graphically. In this case the architecture, the facade composition and the historical and urban context of the Deutsches Nationaltheater Weimar.

Being architects, we believe that the building plays the part of the protagonist. Our main instruments for the visual narrative creation are building plans, sections, 3D-models, satellite images, 2D and 3D geodata, plans and models of the surroundings and finally the landscape of the city itself.

Genius Loci Winners 2019 - Audiovisual artists
Photo Credits: Oliver Blum

In the second layer we reflect upon the historical, political and social impact of the Nationaltheater in the past, present and future. With this in mind as well as the current political and social development in Germany and Europe we decided we have to make some kind of statement, in using clear font. Finally, the categorical imperative (Kant) and its analogies found in the different world religions seemed to be the right answer.

The third layer is the sound design. Obviously it is important for composing the atmosphere in the visuals. We try to envision what will happen visually. We start working in 2D and 3D.

As soon as we have a rough cut, we send it to Jarii van Gohl / Soundselektor (our sound magician). Then he works on the sound composition and sends it back to us. Then the ping-pong-game starts, by sending back and forth. This goes on until we achieve the desired result. 

2. The projection mapping features a great variety of textures and patterns. How did you create them and what tools did you use?

We use very different techniques to create our visuals. We create 3D models from architectural drawings and Geo-data. We also use 2D video footage to create 3D objects importing them in 3D programs. A technique we have been constantly working on and refined over the years.

We also use different techniques offered by video editing software like DaVinci Resolve and others. For 3D we mostly use Cinema 4D and some known and unknown Plugins.

Genius Loci Winners 2019 - Audiovisual artists
3. Can you share with us your creative approach when submitting an artwork to an open call?

It really depends on the task. First of all we analyze the object and its context. Typically, it is a building. We look at the facade, its specific details, patterns and composition and try to find plans and sections of the building.

We then look at the building’s history, the location within the city and the surroundings. Google Earth is our good friend there. When we can, we try to visit the city and see everything live.

Often there are given topics. Thereafter we start the conversation. Talking and sketching are the main instruments here. We shout out ideas and discuss them. This process leads to new ideas, which are also discussed and the wheel begins to turn. Eventually we find a concept which we can all agree on. 

Then the typing starts. We try to formulate our ideas the way an “outside” person would interpret it. Meanwhile the visualization starts. We try to squeeze in as much concept as possible within little pictures.

Finally we work on matching the text and the visuals, which is always a good test for the concept itself. If we cannot connect the written words with the images we created, we know there is a bug and we know what to do. Finally we add some artistic flavors and statements.

Then we win the call, the game begins and a new discussion starts. We love it!

Genius Loci Weimar

Interview to Genius Loci Weimar

The post and Soundselektor Interview – Genius Loci Winners appeared first on Audiovisualcity.

Les prochaines cartes Raspberry Pi4 compatibles NVMe ?

C’est une piste qui pourrait se révéler très positive pour les Raspberry Pi4 4. D’autres constructeurs de cartes de développement se sont déjà penchés sur le sujet et proposent des alternatives au simple recours à une carte MicroSD comme stockage sur  ce type de solution.


Raspberry Pi Compute Module 3+

La carte MicroSDXC est une bonne solution pour ce type de produit dans le sens où le système évacue le problème du stockage du prix de l’équation pour la fondation. Pas besoins de figer quelques maigres gigaoctets de mémoire eMMC. L’acheteur détermine son besoin et achète la carte MicroSD en fonction. Seul souci, les maigres débits de ces cartes et leur faible endurance. Même en choisissant une excellente carte de ce type, on reste souvent dans des formules assez maigres. Le recours au boot sur USB 3.0 a bien changé les choses et de plus en plus d’utilisateurs de Raspberry Pi se tournent vers ce type de solution pour piloter des cartes vers des projets Linux complexes et avancés. Les cartes MicroSD étant encore et toujours utilisées pour les montages les plus simples.

Une nouvelle solution pourrait arriver avec les Raspberry Pi4, le NVMe. Ce format de stockage électronique pour SSD plus rapide permettrait de piocher dans l’énorme catalogue de solutions disponibles aujourd’hui et autoriserait donc, à la fois, des stockages rapides, endurants et accessible à tout type de prix. 

Eben Upton a indiqué que la fondation espérait pouvoir implémenter le NVMe comme solution de stockage dans le futur Compute Module 4 d’ici l’année prochaine : “Pour le Raspberry Pi Compute Module, CM4, nous prendrons en charge en partie le NVMe, puisqu’il propose un canal PCI Express” a t-il déclaré “Nous avons une seule ligne Gen 2 qui est utilisée pour l’USB 3.0 sur le Raspberry Pi. Sur le Module, cela serait disponible sur un connecteur et nous aimerions prendre en charge le NVMe grâce à cela.”


Le Raspberry Pi Compute Module 3+ sur sa carte

Le Compute Module 4 est un bon galop d’essai pour cette technologie, la solution se glisse dans un dock au format SoDIMM de manière à ce que différents industriels puissent adapter la solution qui la recevra dans différents formats. Le Compute Module étant livré sans aucun connecteur en direct, certains pourraient préférer utiliser le NVMe pour du stockage plutôt que de l’USB 3.0. 

Eben Upton tempère toutefois cette annonce et prévient que le passage au NVMe ne serait pas sans conséquences. Il rappelle qu’au vu du format d’une carte Raspberry Pi il est impossible d’intégrer un NVMe simplement faute de la place suffisante pour la carte. Bien entendu, il serait possible de proposer un Raspberry Pi4 plus grand mais ce serait rompre avec les précédentes générations de la série, ce qui aurait sans doute des répercussions énormes en terme d’écosystème.

Le passage au NVMe aurait également un coût car la connectique n’est pas gratuite, transformer ainsi un traditionnel Pi model B serait significativement plus coûteux pour la fondation et donc pour les acheteurs finaux. Upton indique qu’un futur Model A de la carte pourrait avoir un support du NVMe et donne quelques pistes. 

“A quoi ressemblerait un 4A ? Nous avons une décision à prendre sur ce que nous devons faire de l’USB 2.0. L’USB 2 sur le Pi 4 est relié a la prise d’alimentation, l’OTG est relié à la prise d’alimentation, ce qui nous amène à nous demander si nous devons pas les désolidariser, probablement, ce que nous avons fait sur les autres modèles A.” a déclaré Upton. “Nous avons également une question à propos de ce que nous avons fait avec le PCI Express . . . et c’est probablement l’option la plus évidente pour obtenir quelque chose du PCI Express pour tout  ce qui n’est pas un Compute Module.”

Upton explique que ce serait probablement très difficile de garder un Raspberry Pi4 Model A proche du prix de l’actuel Raspberry Pi 3A+ vendu officiellement à 25$. Si le prix grimpait à 30$ ou plus, il pense que la plupart des gens seraient plutôt enclins à payer les quelques dollars supplémentaire pour basculer sur une Pi 4B à 35$. Ce qui aurait comme probable conséquence de faire quasiment disparaitre la production du Model A.

Pi Cast

La fondation a du temps pour régler ces questions mais on sent bien  que les demandes du public pour des cartes performantes sont de plus en plus insistantes. L’arrivée de modèles étagés de 1 à 8 Go de mémoire vive a été relativement simple à régler. Mais le support de fonctions avancées comme le NVMe est insoluble en l’état. La fondation a plusieurs solutions pour résoudre le problème. La plus simple étant de proposer de nouvelles variations de sa carte… Une idée simple qui aurait toutefois de grandes conséquences techniques et financières. Assumer plusieurs designs n’est pas aussi simple que de faire des variations de composants sur un même schéma de base. Cela coûterait cher à fabriquer et à distribuer tout en entraînant un schisme entre les Raspberry Pi4 pour électroniciens d’un côté, ceux investissant dans ce type de cartes pour contrôler des projets variés. Et des cartes pour informaticiens cherchant avant tout une carte de développement pour piloter des systèmes et des logiciels. Jusque là, la fondation a réussi le tour de force de lier les deux mondes de manière efficace, ce qui a fait la grande force du format. 

Sources : PiCast et Tomshardware

Les prochaines cartes Raspberry Pi4 compatibles NVMe ? © 2020.

These are the best AI platforms to help you make music

Par : Dan Cole
AI composition tools for producers

How AI is changing the way we make music – and the services that are out there to help. Right now, AI music services are all the rage, and rightly so. The technology, data, and demand is there. As a producer, if you can use online tools to help inspire or improve your productions, why […]

The post These are the best AI platforms to help you make music appeared first on DJ TechTools.

En Avant, Soul : Pixar dévoile en vidéos ses derniers secrets techniques et artistiques

Par : Shadows

Pixar a mis en ligne de nouvelles vidéos et publications sur les dernières avancées et recherches du studio, employées notamment sur le film d’animation En Avant (sorti en début d’année) et sur Soul, prévu pour la fin 2020.

  • « Garment Refitting for Digital Characters », pour commencer, est une technique permettant d’ajuster des vêtements 3D entre différents personnages de morphologies variées. Le plan présenté dans la vidéo montre montre un cas concret : les jeans du premier homme ont été adaptés pour l’enfant, et celui de la femme adulte à l’adolescente. Le sweat du premier homme a été ajusté à tous les autres personnages. Enfin, le pantalon du second homme a été ajusté pour correspondre à la taille de l’adolescent.
    Fernando de Goes, Donald Fong, Meredith O’Malley, qui présenteront une publication sur le sujet durant le SIGGRAPH, donnent quelques détails techniques ci-dessous. La technique s’appuie sur des itérations successives avec deux grandes étapes : une phase de relaxation (le vêtement est adapté à la forme de la cible tout en minimisant les distorsions du mesh) et une phase de réajustement qui remet à zéro l’espace entre le vêtement et le corps du personnage à l’aide de valeurs données par l’utilisateur.
    La technique gère des contraintes variées comme les épaisseurs multiples ou les coutures, et a été employée sur le film Soul.

We present a new technique to refit garments between characters of different shapes. Our approach is based on a novel iterative scheme that alternates relaxation and rebinding optimizations. In the relaxation step, we use affine-invariant coordinates in order to adapt the input 3D garment to the shape of a target character while minimizing mesh distortion. In the rebinding step, we reset the spacing between the refitted garment and the character body controlled by user-prescribed tightness values. Our method also supports additional constraints that encode the spatial and structural arrangement of multi-layers, seams, and fold-overs. We employed this refit tool in Pixar’s feature film Soul to transfer garment pieces between various digital characters.

  • « Sculpt Processing for Character Rigging » vise à accélérer le travail de rigging : l’utilisation de sculpts permet en effet de corriger efficacement les rigs de déformation, mais demande un travail fastidieux et beaucoup de nettoyage manuel. Les outils présentés par Fernando de Goes, Patrick Coleman, Michael Comet, Alonso Martinez durant le SIGGRAPH, et détaillés là encore dans une publication, permettent d’accélérer drastiquement la génération et la réutilisation de ces éléments.

Pose-space sculpting is a key component in character rigging workflows used by digital artists to create shape corrections that fire on top of deformation rigs. However, hand-crafting sculpts one pose at a time is notoriously laborious, involving multiple cleanup passes as well as repetitive manual edits. In this work, we present a suite of geometric tools that have significantly sped up the generation and reuse of production-quality sculpts in character rigs at Pixar.
These tools include a transfer technique that refits sculpts from one model to another, a surface reconstruction method that resolves entangled regions and a relaxation scheme that restores surface details. Importantly, our approach allows riggers to focus their time on making creative sculpt edits to meet stylistic goals, thus enabling quicker turnarounds and larger design changes with a reduced impact on production. We showcase the results generated by our tools with examples from Pixar’s feature films Onward and Soul.

  • « FaceBaker: Baking Character Facial Rigs with Machine Learning », publication de Sarah Radzihovsky, Fernando de Goes, Mark Meyer, part du constat que les rigs utilisés au cinéma sont très complexes et donc lourds à utiliser. L’idée est ici d’utiliser le machine learning pour déterminer des déformations approximatives du mesh facial, afin d’alléger les calculs associés. La méthode a d’autres avantages, comme la portabilité de rigs propriétaires sur des plateformes externes.

Character rigs are procedural systems that deform a character’s shape driven by a set of rig-control variables. Film quality character rigs are highly complex and therefore computationally expensive and slow to evaluate. We present a machine learning method for approximating facial mesh deformations which reduces rig computations, increases longevity of characters without rig upkeep, and enables portability of proprietary rigs into a variety of external platforms. We perform qualitative and quantitative evaluations on hero characters across several feature films, exhibiting the speed and generalizability of our approach and demonstrating that our method out performs existing state-of-the-art work on deformation approximations for character faces.

  • « Making Souls: Methods and a Pipeline for Volumetric Characters », enfin, est une publication de Patrick Coleman, Laura Murphy, Markus Kranzler, Max Gilbert. Comme son nom l’indique, elle se concentre sur les personnages fantomatiques du futur long-métrage Soul.
    Pixar nous indique ici que le style visuel a nécessité l’implication de nombreuses personnes au sein du studio, de l’art department au lighting en passant par les shaders, TDs, développeurs. L’enjeu artistique était d’équilibrer l’aspect éthéré des âmes avec un design attrayant et une bonne lisibilité.
    L’équipe s’est notamment appuyée sur un système procédural sous Houdini pour obtenir l’aspect doux des personnages et les lignes dynamiques, et a mis en place un système de contrôle automatisé pour gérer les calculs de façon configurable et prendre en compte, lors des rendus, les modifications faites aux performances des personnages.

The soul characters in Disney/Pixar’s Soul have a stylized appearance that sets them into a unique world, which introduced many new challenges. Everyone from the art department and character modelers and shaders to the technical directors and developers in the effects, lighting, and software groups collaborated to bring this new visual style to screen. The soul world is abstract and ethereal; this needed to be balanced with visual clarity and design appeal. As our character rigging and animation tools use rigged surfaces, a key challenge was presenting a new representation derived from this data that meets our visual goals. To achieve softness of volumetric form and dynamically changing linework, we built a system to procedurally generate this data in Houdini. Significant numerical computation was required to create this data at the fidelity required. We developed an automated system for managing this computation in a configurable way, while keeping data for downstream renders in sync with changes to character performances.

Rappelons pour finir que Soul devrait sortir le 25 novembre en France.

L’article En Avant, Soul : Pixar dévoile en vidéos ses derniers secrets techniques et artistiques est apparu en premier sur 3DVF.

Jornal do Centro invests in a Profuz LAPIS system

Par : RadianceC

    Jornal do Centro invests in Profuz LAPIS allowing remote accessibility and enhancing outreach capabilities For immediate release – 14 July 2020, Lisbon, Portugal  – IABM-member PBT EU is delighted to confirm the adoption of a Profuz LAPIS system at Portugal’s Jornal do Centro in collaboration with reseller partner Pantalha.  Jornal do Centro selected ...

The post Jornal do Centro invests in a Profuz LAPIS system appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Laura Seitz and Daniel Pitts Interview – Genius Loci Winners

Par : Marco Savo

Meet the audiovisual artists behind REVERSE IMAGINATION, projection mapping on the facade of the MON AMI cultural centre in Weimar.

Laura Seitz and Daniel Pitts’ audiovisual work stands out for its detailed storytelling and figurative approach.

Rather than opting for simply highlighting the architecture, they have decided to tell us the story behind the construction of the building, through a captivating audiovisual narrative.

As part of our series about the Genius Loci Weimar 2019 winners, our young journalist Marta Minguell asked the creators about their creative process and how they approached the audiovisual event open call.

1. What are the main references that inspired you to create the “Reverse Imagination” audiovisual narrative?

In order to start the foundations of the building, the people of Weimar had to drain parts of a swamp located in this area. Without that effort the construction of the MON AMI would not have been possible.

We found this tedious task to be a good symbolic starting point for a broader approach to the theme: individuals working together to open up space for their community.

The ground, that otherwise would have been inaccessible or even hostile to life, became fertile. Ideas that couldn’t be previously heard can now be shared and developed.

The whole building can be perceived as a foundation stone for decades of dialogue, cultural and artistic expression, political engagement and countless untold personal stories that otherwise would have not been possible.

We reenacted that progress, but not in a historically accurate way. Instead we opted for a fantastic reinterpretation of the construction of the building. Abstract beings finding themselves back in the former swamp surrounded by ruins and rubble.

They are there to rebuild an alternative MON AMI, revealing more of the
inner nature of the place than the facade might be able to show on its

Laura Seits and Daniel Pitts - Audiovisual artists
Photo Credits: Henry Sowinski
2. Can you tell us about the techniques you used and the creative process you followed to create this animation mapping piece?

We wanted to put emphasis on the audiovisual story telling in this work right from the beginning. So we did a fair amount of writing work and concept art, to develop a solid narrative structure, that is engaging and suitable for the site.

Furthermore we had to consider the different spectators experiences, due to the wide range of viewing angles and visual obstacles, like trees in front of the building.

Since our story evolved around the fictitious rebuild of MON AMI, we tried not only to superimpose imagery onto the real world structure.

Instead we referenced it and played with its spatial perception to immerse a viewer even further by forcing perspectives and vanishing points.

While the composition of the different elements, their movements and lighting was done in a digital 3d environment, almost all visible surfaces were hand drawn, scanned and then integrated into the scene.

This mixture of analog and digital technology enabled intriguing animated movement, dynamic lighting and complex scene setup. But it was also providing the necessary detail, texture and imperfection that created a natural and tangible look, even at the scale of such a mapping piece.

Genius Loci Winners 2019 - Audiovisual artists
3. Can you share with us your creative approach when submitting an artwork to an open call?

Genius Loci Weimar 2019 was the first video mapping project that we did of that kind. Visiting the audiovisual event in recent years, gave us an impression of the unique mood in the streets of Weimar during those nights.

Entire areas of the city seemed to be immersed in a dream-like state. Yet all the locations featured different atmospheres achieved in many different ways.Inspired by that we were eager to create our own approach reflecting our interests and skill sets.

For the submission we wanted to create an artwork that well portrays
our stylistic decisions as well as giving a glimpse of the narrative
structure we planned for the full animation piece.

At the same time, we were trying to figure out whether our ideas could work on a medium that we only knew from a spectator’s point of view back then.

Genius Loci Weimar

Interview to Genius Loci Weimar

The post Laura Seitz and Daniel Pitts Interview – Genius Loci Winners appeared first on Audiovisualcity.

Three Media signs up to DPP

Manchester, UK – 14 July 2020 – Three Media, a specialist technology company, today announced it has joined the DPP, the media industry’s business network, with the aim of expanding its exposure and bringing its distinctive perspective to the forum. Originally founded by UK broadcasters, including the BBC, ITV and Channel 4, to standardise tapeless programme ...

The post Three Media signs up to DPP appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Trois titres Pippin découverts récemment

La Pippin est assez méconnue pour qu’assez régulièrement, la liste des titres connus augmente. Récemment, j’en ai vu trois nouveaux apparaître sur le Web.

Le premier n’est pas totalement une nouveauté, mais il reste un peu particulier. C’est un CD-ROM Epson contenant un logiciel pour la console de Bandai et Apple. Plusieurs versions étaient déjà référencées, mais pas celle là. C’est un disque pour l’imprimante Epson Stylus Color 600, sorti à Hong Kong (donc pas au Japon). J’ai essayé d’avoir une copie par la personne qui a posté la photo sur Twitter, sans succès.

Le second est plus étonnant : il s’agit du CD-ROM d’un magazine, Blender. Ce vieux magazine américain date du milieu des années 90 et un numéro best of de 1996 (je n’ai pas trouvé la date exacte) contient une version compatible Pippin. Enfin… plus ou moins. Le disque indique bien une compatibilité Pippin, mais il ne contient pas de quoi démarrer sur la console. Il n’y a pas de fichier d’authentification et visiblement la structure ne permet pas de démarrer sur le CD-ROM. J’ai gravé l’image ISO (disponible sur mais elle ne démarre pas, ni sur une console standard ni même sur une console de développement.

Le dernier est visiblement un disque pour adultes, The Virgin Of a Legend. Vendu récemment sur Yahoo Auction (et bien trop cher pour moi), il affiche un sticker qui indique du contenu pour adultes, et la pochette parle de vidéos et d’images de figurines. dévoile une bande-annonce dans la lignée de Love, Death and Robots pour Watch Dogs : Legion

Par : Shadows

Si la conférence Ubisoft Forward n’a pas été l’occasion pour le groupe d’évoquer ses troubles internes, le studio a fait plusieurs annonces durant la soirée. Une cinématique pour le jeu Watch Dog : Legion a été dévoilée.

Si le style vous évoque l’épisode Le Témoin de la série Love, Death and Robots, ce n’est pas un hasard : le même studio en est à l’origine, avec Alberto Mielgo à la réalisation dans les deux cas. Notez également qu’Alberto Mielgo et son équipe de avaient déjà travaillé sur la préproduction de Spider-Man : New Generation, avec là encore une filiation graphique assez nette.

Pour cette cinématique, l’équipe était composée entre autres Pablo Vasquez (lighting artist connu des adeptes de Blender pour avoir créé la série Caminandes), de Lara Cores au compositing, ou encore de la concept/visdev artist Yun Ling.
Au niveau technique, Pablo Vasquez précise que « les logiciels utilisés étaient secondaires », chaque artiste ayant utilisé ses outils favoris (Blender, Maya, Cycles, Arnold…) afin d’obtenir le meilleur résultat possible.

L’article dévoile une bande-annonce dans la lignée de Love, Death and Robots pour Watch Dogs : Legion est apparu en premier sur 3DVF.

Sony investit 250 millions de dollars au sein d’Epic Games

Par : Shadows

Sony et Epic Games annoncent un partenariat de taille. En échange de 250 millions de dollars, Sony devient actionnaire minoritaire du créateur de l’Unreal Engine.

Si la somme est importante, la part de Sony reste minime : Epic Games pèse actuellement environ 18 milliards de dollars. Sony ne possède au final qu’environ 1,4% d’Epic Games.

En pratique, cette annonce est l’aboutissement d’un partenariat de longue date, qui s’était encore illustré récemment via une démo technique s’appuyant sur les futures versions 5 de l’Unreal Engine et de la PlayStation.
Le communiqué évoque une collaboration renforcée au sein d’une industrie à l’évolution rapide, et une vision d’expériences sociales 3D temps réel avec convergence du jeu, du cinéma et de la musique. Il faudra évidemment attendre de futures annonces pour en savoir plus.

L’article Sony investit 250 millions de dollars au sein d’Epic Games est apparu en premier sur 3DVF.

6 ways DJs can get organized during lockdown (you’ll thank yourself later)

We all feel it – the COVID-19 burnout is real. Many of us are itching to get outside, to play clubs again, to be back on a dancefloor, and to play on a big soundsystem again. Yep, we miss it too. But we’re not quite there yet – particularly in the United States. That’s why so […]

The post 6 ways DJs can get organized during lockdown (you’ll thank yourself later) appeared first on DJ TechTools.

Smimi & Nono : un nouveau podcast vidéo et francophone sur l’animation

Par : Shadows

Sandrine Han et Nölwenn Roberts, deux professionnelles de l’animation, ont récemment lancé leur propre podcast. Disponible sur Twitch et Youtube, le « Smimi & Nono Podcast » évoque, en vidéo et en français, différents aspects de l’industrie : parcours, travail de réalisateur/réalisatrice, dessin, storyboard, travail en freelance, finances, concurrence, entraide…

Voici les premiers épisodes disponibles, accompagnés de leur texte de présentation :

Storyboard, animation, réalisation et BD, entre désillusions et magie de la création, pas facile de trouver l’équilibre…mais bon, on se re-motive avec une petite interview de Spielberg et on y retourne !
Dans ce podcast on parle de notre parcours dans le milieu du cinéma d’animation et de ce que nos rêves d’étudiantes, aux Gobelins et à l’EMCA, sont devenus après 10 ans de métier dans des studios comme Laika ou MacGuff, et sur nos projets perso de court-métrages et de bd \o/
Sandrine Han (InstagramTwitch)
Nölwenn Roberts (InstagramYoutube)

Dans ce podcast nous discutons avec Anaïs Chevillard de l’apprentissage du dessin d’un point de vue psychologique 🙂 Depuis nos premières inspirations jusqu’aux problèmes de confiance en soi, entre la concurrence et l’entre-aide en passant par les ups and downs, un petit tour du parcours mental que nous empruntons pour bosser dans ce métier !
Featuring :
Anaïs Chevillard
Sandrine Han (InstagramTwitch)
Nölwenn Roberts (InstagramYoutube)

Bienvenue dans le monde RÉAL Néo ! Première partie du podcast dans lequel nous discutons du métier de réalisateur.rice de court-métrages et de séries d’animation avec Mai Nguyen et Charlotte Cambon réalisatrices de la série « Culottées » adaptée de la fantastique bande-dessinée de Pénelope Bagieu !
Mai NguyenDepuis le pitch à un.e producteur.rice jusqu’à la tournée en festivals en passant par l’expérience humaine, la gestion d’une équipe, les doutes et les crises diverses qu’on a pu rencontrer sur les prods – et sans oublier les petits fours ! Comme dit Charlotte « C’est l’enfer, mais c’est bien » n.n
Featuring :
Mai Nguyen
Charlotte Cambon
Sandrine Han (InstagramTwitch)
Nölwenn Roberts (InstagramYoutube)

La vie d’animateur-illustrateur indé en freelance…. FREE de la passion ou Passion du FREEste ? À vous de voir !
Dans ce podcast ou devrais-je dire… podQUATRE Haha…ha… (non non partez-pas !) on discute liberté du mode de vie de freelancer face aux contraintes financières et humaines qu’elle apporte et comment on y fait face. On s’aperçoit qu’on n’est pas tous égaux devant la solitude, mais que le besoin de bosser sur nos projets perso devient trop important pour ne pas tenter cette aventure qu’est la vie de freelance et qui nous permet d’alterner job alimentaire en illu, pub ou anim avec des « breaks » sans revenus financiers – mot sympa pour parler du chômage volontaire – durant lesquels on explore la création, on fait avancer nos projets perso et on… vie ? 🙂
Featuring :
Stephen Vuillemin (siteInstagram)
Jonathan Djob Nkondo (TumblrInstagram)
Sandrine Han (InstagramTwitch)
Nölwenn Roberts (InstagramYoutube)

Nous voici en présence de nos amis Sarah Guiderdoni & Julien Perron pour parler de ce merveilleux métier qu’est le Storyboard ! Ou devrions-nous dire le « scénar-image » en bon français XD Mais qu’est-ce que le storyboard ? Comment devient-on storyboarder ? Comment on pitch (ô mon pitch) une séquence à un réalisateur et quelle est la place de la création dans ce métier ? STORY of my life ou West Side StoryBoard ?? Tout ça et bien plus dans cet épisode 5 !!!
Sarah Guiderdoni
Julien Perron
Sandrine Han (InstagramTwitch)
Nölwenn Roberts (InstagramYoutube)

L’article Smimi & Nono : un nouveau podcast vidéo et francophone sur l’animation est apparu en premier sur 3DVF.