Arris Composites, l’un des pionniers des matériaux composites de nouvelle génération, a annoncé fin mai qu’il avait obtenu un financement de 48,5 millions de dollars dans le cadre de la série B pour étendre ses capacités de fabrication de composites…
In light of the recent release of the CDJ-3000, we thought it would be cool to get a DJ unfamiliar with the Prime ecosystem to take a closer look at the competition, specifically the Denon DJ SC6000s. New DJTT contributor Freddie Fiers dives into the gear in this new review, keep reading for her thoughts […]
The post A closer look at Denon DJ’s SC6000 & SC6000M Prime appeared first on DJ TechTools.
Fondée en 1876, Henkel est une multinationale réputée dans le secteur de la consommation et dans le secteur industriel. Bien que le siège social de l’entreprise soit situé à Düsseldorf, en Allemagne, plus de 80% de ses employés travaillent à…
It all begun in 2009. After quitting my job as an engineer I moved to Madrid to study a Master in Motion Graphics while making my first experiences in the world of video art.
In 2010 I started up several collaborations with art organizations in Madrid and they proposed to me to shoot a dance performance by the choreographer Iratche Ansa.
The performance was going to be held at the Matadero in Madrid. From that recording I put together my first video dance “Comunicación Interpretación Automática” which had a very good reception.
A few months later I made my first dance pieces with live visuals with choreographer Barbara Fritsche.
Thanks to those projects I was able to work on the musical “Hoy No Me Puedo Levantar” in 2013. In 2014 I directed my first proper theatre show: “Girasomnis”.
I try to “connect” the visuals with the dancers. Sometimes I encourage the dancers to “connect” or follow my visuals.
In this project I also composed the music. This is very useful as I have better control of the creative process. With this project I tried to evoke feelings in the audience without words: just images, dance and instrumental music.
This quarantine caused an abrupt stop in my job, but also gave me time to start imagining something new.
The idea was born during the first week of confinement. At the start, It was simple: I just wanted to publish some of our best projects and make them public. But I also felt a need for a change.
The last 3 years I was quite disconnected from my artistic side due to working mostly on commercial projects.
I was just focusing on making money to pay my bills and trying to have a stable team for audiovisual production. The outbreak of the Covid-19 has been an absolute shift in our work. We started questioning the possibility of doing our shows as we did before.
So, in April I started to visualize and write a synopsis of this new project. I then decided to publish “Dance Mapping Virtual Tour 2020” as a memorandum of all these years of physical shows.
This new production is planned to be released in VR and physical 360 projection format in late 2021.
When I have the budget I can work with some powerful audiovisual freelancers from my network of collaborators. Failing that I work alone.
I also work with very talented dancers/choreographers from Barcelona. During the years they started to understand my ideas and transform them in beautiful choreographies.
I have mostly 2 ways of work. I compose a music draft and then I work on the visuals and choreography or vice versa: I make a draft of visual content with a draft choreography and I try to match the sounds and music.
Sometimes I give leeway to the dancer, so they can create their own choreography and then I create the visual content following their movements.
In the last few years I also worked with some talented musicians for a faster audiovisual production.
This was a concept from Roman Torre. In 2015 I shared a space with him and we collaborated together on a video mapping of a rotating stone. It was a nice project called Liquid Series.
In the video mapping area I also tried to develop innovative concepts, differing from the typical big projection on a building facade. 2 Years ago I started to develop the concept of “Holomapping”. I am planning to finish it next year as well.
Nowadays, it is possible to learn a lot following digital online courses, but it is always better if somebody guides you. As with everything in life the best way to learn is practice, making mistakes and improving.
Spain is not the best country for arts, I would say. As far as I know French artists or from other European countries have more grants and support from their governments, but everything is possible if you are passionate about your work.
Munich, Germany, 05 August 2020: Cinegy GmbH, the premier provider of software technology for digital video processing, asset management, video compression and automation, and playout, has released the latest version of Cinegy Multiviewer 15.2, solidifying Cinegy’s position as the leading IP and multipurpose multiviewer vendor. Cinegy Multiviewer 15.2 is the most flexible multiviewer ever, great for ...
When DJ TechTools hit me up to do a review of the new Twelve MKIIs I was stoked, but not entirely surprised. Anybody following Rane and/or watching DJ Jazzy Jeff’s livestream knew this update was coming, thanks to Jeff sporting a pair of unreleased Twelve MKIIs on his livestream since April. But when I learned I would […]
Si vous avez déjà utilisé un vieux clavier Apple, vous avez peut-être déjà rencontré un truc énervant (pour moi) : la touche Caps Lock mécanique. Et j’ai une petite astuce pour se passer de cette dernière.
Par défaut, donc, la touche a un comportement un peu particulier : elle reste enfoncée. Si vous pressez Caps Lock, elle se bloque physiquement dans une position enfoncée. C’est très énervant, parce que si vous ne regardez pas le voyant, vous pouvez être bloqué en Caps Lock au démarrage, ce qui bloque certains raccourcis. Qui plus est, ce fonctionnement pose des soucis avec les adaptateurs USB vers ADB. Le clavier envoie en effet un
scan code un peu particulier : il envoie
down (touche enfoncée) et
up (touche relachée) très rapidement. Si vous utilisez le clavier sur un Mac moderne, cette touche n’a donc aucun intérêt : elle ne bloque pas les majuscules, elle envoie juste qu’elle a été pressée.
Par défaut, chaque pression envoie les deux états rapidement
Au départ, je suis tombé sur ce post, qui explique qu’il est possible de remplacer l’interrupteur de la touche par celui d’une touche classique (par exemple F15, inutilisé sous Mac OS 9), et qui explique aussi comment gérer un vrai Caps Lock avec un pilote de clavier alternatif pour Mac OS X. Mais il y a deux problèmes. Premièrement, F15 sert à gérer la luminosité de l’écran quand on a un moniteur Apple, et deuxièmement… je n’utilise de toute façon pas Caps Lock. En fait, dans mon cas, j’ai juste besoin que la touche ne bloque plus physiquement.
Le switch sous F15
Et il y a une solution simple : il faut enlever le keycap (la touche), démonter l’interrupteur et enlever le petit morceau de plastique qui bloque la touche. Sans cette dernière, l’interrupteur (le switch) se comporte comme un modèle classique. C’est un peu tendu quand on a pas l’habitude pour démonter et (surtout) remonter avec le ressort, mais ça fonctionne bien.
Le switch sous Caps Lock
La pièce à enlever
Une fois la pièce changée, le comportement ne bouge pas sur un ordinateur moderne : la touche renvoie toujours les deux commandes rapidement et n’est donc pas fonctionnelle. Avec un vieux Mac sous Mac OS 9, on perd le Caps Lock, mais la touche fonctionne comme une touche Shift classique : elle bloque les majuscules une fois enfoncée manuellement, mais c’est tout. Et surtout, elle ne bloque plus les raccourcis quand elle est enfoncée malencontreusement quand l’ordinateur est éteint. Si vous voulez tout de même un vrai Caps Lock sous macOS (Mac OS X), Karabiner (ex KeyRemap4Macbook) peut le faire avec le script proposé sur cette page. Je n’ai pas essayé : je désactive systématiquement le Caps Lock.
Et un jour, je vous expliquerais comment nettoyer correctement un clavier un peu sale (au hasard celui montré ici).
Miele, le fabricant allemand d’appareils ménagers et d’équipements commerciaux haut de gamme, a révélé en mai dernier qu’il mettrait gratuitement à disposition les fichiers STL des accessoires pour ses appareils ménagers dans le cadre de son projet 3D4U. Comme vous…
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Il y a quelques semaines, le constructeur automobile Porsche présentait des pistons imprimés en 3D pour le moteur de sa Porsche 911 GT2 RS. Une méthode de fabrication qui lui a notamment permis de réduire le poids global de la…
4DViews volumetric video, Unity HDRP DXR, C# Job System + Burst compiler https://github.com/keijiro/4DViewsTest3
Dans le cadre des « PreVIEW » de la VIEW Conference (qui se tiendra en Italie en Octobre), une conférence en ligne gratuite est organisée ce vendredi.
Le technical artist Dylan Sisson de Pixar (qui est notamment à l’origine des fameuses théières Pixar) et le journaliste Ian Failes évoqueront RenderMan. Au menu, deux grands volets :
La conférence sera par contre relativement tardive depuis la France, puisqu’elle débutera demain 24 avril à 23h30 CET, et donc à minuit 30 en France.
L’article RenderMan : une conférence ce vendredi, entre avenir technique et rendu stylisé est apparu en premier sur 3DVF.
L’artiste Olivier Caron nous dévoile ses derniers projets :
L’article Entre actualité et voyage futuriste, les nouvelles oeuvres d’Olivier Caron est apparu en premier sur 3DVF.
PrintSyst.ai est une start-up qui s’est concentrée ces dernières années sur le développement de l’intelligence artificielle pour résoudre le coût important des processus de pré-impression dans la fabrication additive. Aujourd’hui, l’analyse des pièces avant l’impression 3D est une étape cruciale…
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.
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.
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.
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.
greenMachine HDR Processing for Combining HDR & SDR into a Single Production Workflow LYNX Technik, provider of modular signal processing interfaces, announces that HDR Evie+ is now available for its greenMachine® platform. LYNX Technik’s HDR Suite of Processing Solutions (HDR Evie+, HDR Evie, HDR Static) for the greenMachine® platform addresses the challenge that broadcasters and ...
The post HDR Evie+ (Enhanced Video Image Engine) Offers Fully Automated, Segmented Dynamic HDR > SDR Conversion appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
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.
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.
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.
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.
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!
The post ruestungsschmie.de and Soundselektor Interview – Genius Loci Winners appeared first on Audiovisualcity.
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.
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
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.
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.
The post Laura Seitz and Daniel Pitts Interview – Genius Loci Winners appeared first on Audiovisualcity.