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(August 5, 2020) Zixi, the industry leader for enabling dependable, live broadcast-quality video over any-IP, and award-winning architect of the Software-Defined Video Platform (SDVP), today announced that the company will be conducting Zixi Delivers, a showcase of webinars and virtual meetings, during the traditional IBC timeframe to engage with existing and prospective customers and partners. ...

The post ZIXI ANNOUNCES “ZIXI DELIVERS” VIRTUAL SHOWCASE IN SEPTEMBER appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Cinegy Multiviewer 15.2: Hail to the King

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 ...

The post Cinegy Multiviewer 15.2: Hail to the King appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Post New York Alliance (PNYA) to Examine Post-Production in a Post-COVID World

Free sessions slated for Thursday, August 6 at 4:00 p.m. NEW YORK CITY— What lies ahead for New York’s post-production industry in the wake of COVID-19? A panel of industry experts will provide a roadmap to the post-pandemic world—and offer advice on how to navigate it—in the latest edition of Post Break, the weekly video ...

The post Post New York Alliance (PNYA) to Examine Post-Production in a Post-COVID World appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Review: Rane’s new Twelve MKII & Seventy-Two MKII

Par : DJ Soo

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 […]

The post Review: Rane’s new Twelve MKII & Seventy-Two MKII appeared first on DJ TechTools.

Rane releases MKII editions of Seventy-Two mixer, Twelve controller

Rane is making waves in 2020 with the announcement of two new gear releases today: refreshed versions of their iconic Seventy-Two mixer and Twelve controller. Both releases – deemed the Seventy-Two MKII and Twelve MKII respectively – expand on their previous iterations to explore more features available to DJs that have been long awaited. The Seventy-Two MKII […]

The post Rane releases MKII editions of Seventy-Two mixer, Twelve controller 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. 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.

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.

Crystal Vision reduces the cost of creating video graphics with M-WEBKEY

Crystal Vision has introduced a unique new way to do broadcast graphics. Rather than using video sources for the key and fill signals like traditional linear keyers, the M-WEBKEY web page keyer can key a web page on to an IP or SDI video stream – using the power of HTML5, CSS3, JavaScript, AJAX, XML ...

The post Crystal Vision reduces the cost of creating video graphics with M-WEBKEY appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

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.

Onomatopoeia Club

Audiovisual art doesn’t just have to be about performing, in fact, this year in light of the global pandemic, we’ve begun to see progressively more innovative and creative ways of the culture of sound and image begin to trickle into new realms and industries.

An AV Webzine

Presenting Onomatopoeia Club. As audiovisual culture vultures, way back in 2011, we saw a need to document, curate and to explore audiovisual culture as a whole as we saw it begin to unravel into its very own discipline.

Onomatopoeia Club have done something much in the same vain. They’ve created an online creative space where sound and visual artists can come together to collaborate on a short 30 second project. The project is a collaboration between Coda to Coda and Rosie Lee.

The most curious thing about this from a visual artist’s point of view is the fact that they have turned traditional VJ and music video culture on its head – rather than the visual artist creating content based on sound, they’ve taken a more soundtrack approach to the project.

How the artist collaboration works

The visual artist creates a 10 second loop, which the Onomatopoeia team turn into 30 seconds and THEN pass them on to a sound artist for the mini projects to be completed. The result? A quarterly webzine of 10-15 audiovisual collaborations and a lot of fun and inspiration.

They’e just launched their first edition (6th July) with a great mix of 12 artists’ collaborations. It’s really curious way to discover new visual and sound artists, and warning, it’s quite addictive. Maybe it’s just me, but I certainly can see and hear the difference of the sound being created after the visual… can you?

Top 3 Audiovisual Collaborations

Here are my faves from this month’s edition:

Cumi Na Gatandu: By Emily Evans (Visuals) & Auclair (Sounds)

This Place: By Catherine Repko (Visuals) & Luisa Gerstein (Sounds)

I cannot fly but I will not hit the floor: by Sophie Clements (Visuals) & Suitman Jungle (Sounds)

Check out the first edition and let us know your thoughts, and get in touch with them if you’d like to participate and have some fun, whilst meeting new artists!



Join the community and see new episodes via the Instagram channel!

The post Onomatopoeia Club appeared first on Audiovisualcity.

Le SoC Kunpeng 920 de Huawei fait son apparition dans un PC

Table rase du passé, ce projet de SoC ARM Kunpeng 920 est une voie alternative pour Huawei sur le marché de l’ordinateur personnel. Coincé par des limitations diplomatiques et commerciales avec les US, le géant de l’électronique Chinois cherche des solutions pour continuer à exister.

Kunpeng 920
Son PC sous Kunpeng 920 n’est donc pas compatible avec les solutions x86 traditionnelles comme les puces Intel ou AMD. Il exploite donc un système Linux sur mesures baptisé UOS. Une distribution qui exécute des applications codées nativement pour ARM. Cet engin ne fera donc jamais tourner un Windows, de toutes façons Microsoft devrait également rentrer dans la liste des partenaires interdits pour la marque.

Le système UOS

Des PC équipés de cette puce sont, semble t-il, disponibles à la vente en Chine et c’est l’occasion de voir jusqu’où se projette l’ombre de Huawei sur le marché des processeurs. Voir quel impact il pourrait avoir sur AMD et Intel dans la vente de PC. Et pour le moment, on ne peut pas dire que cela soit inquiétant pour tous les autres acteurs. 

Une Youtubeuse Chinoise a posté une vidéo sur Youtube du PC équipé d’une solution Huawei Kunpeng 920 en huit coeurs installée sur une carte mère Kunpeng D920S10. L’ensemble est vendu assez cher, près de 7500 yuans soit environ 950 de nos euros et pourtant les performances globales sont médiocres. Pire, certains usages classiques sont, à vrai dire, très compliqués.

Huawei PC

Le PC semble intéressant au premier abord avec la présence d’un SoC gravé en 7 nanomètres basé sur une architecture ARMv8 en 64 bits. Les huit coeurs travaillent en parallèle et peuvent atteindre le maximum de leur fréquence de 2.6 GHz dans cette disposition de PC de bureau. Il faut dire que la puce est coiffée d’un système de refroidissement classique de solution x86 et que la chaleur ne doit pas spécialement être un problème. Particularité de cette puce, elle embarque 32 Mo de cache L3 ce qui est… beaucoup par rapport aux standards x86.

La carte mère semble également très décente avec la prise en charge de nombreux services modernes : on peut par exemple y installer jusqu’à 64 Go de mémoire vive grâce à 4 slots de mémoire DIMM, elle sait piloter 6 ports SATA 3.0 et propose deux emplacements M.2 2280 pour d’autres solutions de stockage. Un troisième emplacement M.2 servira à installer une carte réseau compatible. Trois slots PCIe 3.0 sont disponibles en x16, x4 et x1.

On note également la présence de quatre ports USB Type-A, moitié en USB 2.0 et moitié en USB 3.0 ainsi qu’un port VGA sur la carte mère. Un port Ethernet Gigabit est présent comme une sortie optique, probablement pour transmettre un signal audio numérique.

AMD Radeon

Sur le PC testé, on compte par exemple 16 Go de mémoire vive DDR4 et un stockage de 250 Go mécanique en SATA. Une carte graphique Yeston Radeon RX550 est également présente et le tout est alimenté par une solution 200 watts. Oui, en analysant le contenu de la tour par rapport à son prix, on se rend compte que ce PC n’est clairement pas une bonne affaire.

Blender test scene

Si certains postes sont parfaitement pris en charge, comme par exemple la lecture de fichiers vidéos en streaming en UltraHD, d’autres sont clairement à la traîne. Lire une vidéo stockée localement semble être… compliqué. Et certains essais comme le rendu 3D sous Blender d’une scène classique de test dépassent de très loin les standards actuels. 

La prochaine fois que je teste de la mémoire vive je vous fais le V avec les deux barrettes sous la mâchoire comme à 1’54 ?

Les usages plus classiques comme le surf ou la bureautique ne semblent pas poser de problèmes. Ces résultats sont d’autant plus étonnants que d’autres distributions Linux sont aujourd’hui bien plus efficaces sur ces postes particuliers de la lecture vidéo locale par exemple que ce que propose UOS. Il faut peut être voir ce trio, carte mère, SoC et système que le travail acharné et dans l’urgence d’une armée d’ingénieurs Huawei. Un premier jet qui pourrait être bien plus convaincant dans les trimestres et les années à venir.

Source : Tomshardware

Le SoC Kunpeng 920 de Huawei fait son apparition dans un PC © 2020.

Pliant Technologies Launches New Webinar Series

Initial Webinar to Discuss the Benefits and Features of Company’s MicroCom M and MicroCom XR Digital Wireless Intercom Solutions AUBURN, AL, JUNE 30, 2020 — Pliant Technologies announces an upcoming free webinar series for existing and potential Pliant partners and customers to learn more about the company’s wireless intercom solutions. The first in the series ...

The post Pliant Technologies Launches New Webinar Series appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.


Glastonbury, VJ showcase and a virtual reality event. Did I get your attention yet?

That’s right, in a moment where the ‘new normal’ is beginning to establish new ways of working in the world of audiovisual events, Lost Horizon Festival presents us with some of the world’s first responses to Corona Virus brought to us via the Gas Tower.

The team behind Glastonbury’s Shangri-La presents Lost Horizon festival, with 360º immersive visual shows from a healthy list of audiovisual artists that will make you forget we were in the middle of a pandemic, just like Woodstock (hip-hip-hooray!)

With the branding slightly reminiscent of a Madonna track ‘A REAL FESTIVAL, IN A VIRTUAL WORLD’ we are in for a treat, not to mention a fantastic list of VJing sumptuousness to explore and discover!

From the likes of Bertie Sampson, blinkinLAB, Bob Jaroc, DDL, Delta Process, Dr and Quinch, Enjoy Kaos, Fade In Fade Out, Greenaway & Greenaway, Joëlle, Koolik, L’Aubaine (check out the our interview with her) Lazershaft, Lazersonic, LEDS Akimbo, Limbic Cinema, Matt Lee Vs The Positronic Man, More Eyes, Primary Visual Cortex, Rebel Overlay, REM Visuals, WeAreMidnight.

Audiovisual artists

Yes, that’s a lot of new, fresh audiovisual artists coming soon on Audiovisual City, with great thanks to Creative Giants, for curating this mind blowing line-up, promising us a fully immersive digital art and music event.

“Taking the Gas Tower from the fields of the festival world into a groundbreaking new reality, Creative Giants are excited to be joining the team Shangri-La on their voyage of discovery to Lost Horizon, which redefines what a festival can be, creating ways for people to come together and experience music and art in a way we never would have previously imagined.”

Simon Vaughan, Creative Giants

A virtual audiovisual event

What’s more, is nothing sells a virtual festival like the mouthwateringly designed website by Manchester studio, Instruct Studio. If this website were food, I’ve already been eating with my eyes and gotten pretty fat.

“We are thrilled to showcase some of the world’s leading VJs and visual artists in this way. The physical structure of The Gas Tower has been recreated in exact detail in virtual reality, allowing viewers to look around in full 360 degrees to fully immerse themselves in beautiful visuals. We are proud to be leading the way into the digital domain, presenting ground-breaking artists with innovative and mind blowing visuals as part of this ambitious new form of live experience.”

Pete Thornton, More Eyes

Rebel Overlay

Light based minimalistic blade-runner-esque visuals that will make you feel retro futuristic, with everything from lasers to LED totems and 3D structures in the portfolio bag, all with a dash of Resolume control.


No messing about, this studio based in London have done whopping great visual productions for the likes of Coachella, Boomtown and The Human League (for those of you who are old enough to know who they are).

Enjoy the Kaos

Interesting looking 3D abstract visuals that look like candy cane, sweet enough to hang off your Christmas tree. If you’re into 3D animation, mapping, photogrammetry, and art in general then Enjoy the Kaos should definitely be an audiovisual show on your AV hit-list.


Immersive tour visuals for Adam Beyer, and for Booka Shade, what’s not to inspire any keen audiovisual festival goer? Primarily focused on content creation, blinkinLAB is a motion graphics design studio based in London.

Their portfolio of work includes tour visual content creation, motion graphic design, music video, tv commercials, idents and title sequences, as well as live audiovisual performance, vj-ing and projection mapping installations.




The post LOST HORIZON FESTIVAL – GAS TOWER: 3 – 4th July, Online appeared first on Audiovisualcity.


Par : Marco Savo

ADAF is an audiovisual event constantly evolving along with the new creative trends and breakthroughs within the digital arts, without loosing the core vision of its foundation days.

Every year the organisers finetune their artistic program through their open call for audiovisual artists, to keep themselves up to date with the ever-evolving new media art landscape.

From the initial focus on video art, installations and live performances they have been widening their program up to include Virtual Reality experiences (VR), Web Art, Video Games and more.

adaf 2020 - audiovisual event

The Athens Digital Arts Festival has been founded in 2005 and it is the pioneer longest living institution in Greece dedicated to audiovisual culture and digital arts. This year, as other audiovisual events, ADAF is responding to the Covid19 crisis with resilience and creativity.

Their 16th edition ADAF ONLINE| TECHNOTRIBALISM will be accessible to everyone through the internet. More than 5,500 audiovisual art proposals from 100 countries around the world are the source for the ADAF 2020 program selection.

adaf 2020 - open call for audiovisual artists

The 2020 year theme reflects upon our primitive status in the foundations of the new hyper-informational world, where the data-flux is absorbing the entire existence reaching the status of God.

Is technology serving us or we are serving the data-totem by providing our more sensible information, giving up our privacy for a greater good?

Algorithms, already present everywhere in the digital realm, are reading us better than ourselves, better than our friends and siblings and in the name of  optimization of our virtual experience, we are gradually letting them make decisions for us, filter our perceptions predict our behavior, our bio metrics, our emotions.

adaf 2020 - audiovisual event

All manifestations of culture can now be experienced on a digitized basis, translated to a language (code, DNA) and stored for everyone who possess it to experience regardless the circumstances. Markets and Money are transfiguring into intangible algorithmic byproducts. Everything to serve the information flow.

Close your eyes and connect to your data-doppelganger your mirrored algorithmic self to your digital footprint. You are part of techno-tribalism, you are part of ADAF 2020.



Facebook | Twitter | Vimeo | Instagram | Youtube

The post ATHENS DIGITAL ARTS FESTIVAL: 10 July – 10 September 2020 ONLINE appeared first on Audiovisualcity.

Magewell Unleashes Mac SDK for Award-Winning Video Capture Solutions

SDK for macOS and OS X joins existing Windows and Linux developer offerings June 23, 2020 — Nanjing, China: Magewell – the award-winning developer of innovative video interface and IP workflow solutions – has expanded its support for the Mac platform with a new SDK for the company’s popular PCI Express capture cards and plug-and-play, ...

The post Magewell Unleashes Mac SDK for Award-Winning Video Capture Solutions appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Polygon Labs Unveils Centralized Web-Based Weather Solution Ipsum Weather

Par : Jump

Polygon Labs, an innovative studio pushing the boundaries of interactive data applications and visual branding, is today announcing the launch of its centralized web-based weather data management and curation solution, Ipsum Weather. This announcement follows the recent release of Ipsum 2.0, the company’s data aggregation and visualization platform for broadcast news, sports, weather and branding. ...

The post Polygon Labs Unveils Centralized Web-Based Weather Solution Ipsum Weather appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Weta lance un studio d’animation

Par : Shadows

Weta Digital annonce le lancement de Weta Animated, nouvelle unité centrée sur l’animation avec comme objectif la production de contenus pour le cinéma et le streaming.

Peter Jackson et Fran Walsh, qui possèdent la majorité des parts, entendent bien jouer un rôle important dans ce nouveau studio, y compris en ce qui concerne la réalisation, production, écriture de certains des projets à venir.
Weta en profite pour embaucher son premier CEO, Prem Akkaraju.

Côté technique, le studio d’animation devrait s’appuyer au moins dans un premier temps sur le pipeline VFX déjà en place ainsi que sur les artistes actuels, avant de croître en fonction des besoins.

Enfin, Weta rappelle avoir pris des mesures pour s’adapter à la pandémie de ces derniers mois et continuer son travail dans des conditions de sécurité optimales.

L’article Weta lance un studio d’animation est apparu en premier sur 3DVF.

Sarah Deas joins Pixel Power to strengthen sales team

Cambridge, UK, 18 June 2020: Pixel Power, the global leader in graphics production and playout automation, has appointed Sarah Deas to its head office team. Deas will provide internal sales support to the sales teams in the Cambridge base and regional offices in North America, South-East Asia and the Middle East. “I am delighted to ...

The post Sarah Deas joins Pixel Power to strengthen sales team appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Les webcams et l’USB 1.1

En repassant sur de vieux sujets du blog (je vais en reparler, ça va faire 10 ans…), je suis retombé sur un post sur les webcams et l’UVC. Et je me suis (re)posé la question de la présence de la compatibilité USB 1.1.

L’UVC, pour rappel, est la norme utilisée pour les webcams qui fonctionnent « sans pilote ». Il y en a bien un, évidemment, mais il est généralement intégré à l’OS. Sous Mac OS X, il existe depuis Tiger, avec les premiers Mac dotés d’une webcam interne (iMac G5). En pratique, un Tiger à jour supporte donc l’UVC. Pourquoi se poser la question de l’USB 1.1 ? Parce que certains Mac ne prennent en charge que cette norme, comme les PowerBook G4 Titanium.

La majorité des webcams attend une connexion USB 2.0, suffisante pour du 1080p30 (en gros) et quelques modèles récents nécessitent de l’USB 3.0, comme les derniers modèles de Logitech. Mais l’USB 1.1, ce n’est pas systématique : certains modèles ne supportent pas la norme, d’autres offrent une qualité déplorable. Pour se donner une idée, l’USB 1.1 permet en gros d’atteindre le VGA à 15 ou 20 images/s.

J’ai testé avec trois caméras chez moi, pour voir comment elles se comportent. La première est mon otoscope. En USB 2.0, on peut faire du VGA, en USB 1.1, c’est très léger : 320 x 240 à 4 fps ou 160 x 120 à 15 fps. En gros, c’est inutilisable. Avec une C270, on peut en théorie monter en 800 x 600 à 15 fps ou en 640 x 480 à 30 fps. Et avec une C930, on reste en 640 x 480 à 30 fps. Dans mon cas, je n’ai pas testé directement sur un Mac en USB 1.1, mais je suis passé par un vieux clavier Apple avec un hub USB 1.1 intégré.

La C930

La C270


C’est très moche

Mes trois webcams supportent donc bien l’USB 1.1, mais le résultat varie. L’otoscope est inutilisable, les deux autres fonctionnent en VGA avec une qualité correcte. Assez bizarrement, l’image de la C930 (en temps réel) est extrêmement saccadée, mais QuickTime enregistre bien à 15 fps. La C270, un modèle d’entrée de gamme, monte à 20 fps dans le même cas, mais l’image est moins bonne en réalité. La comparaison est un peu compliquée : la C930 a un angle de vue plus large.

Je ne suis pas certain que toutes les webcams supportent bien l’USB 1.1 – les quelques pages que j’ai trouvé indiquent que ce n’est pas toujours le cas – mais vous devriez en trouver facilement. Bien évidemment, c’est toujours mieux de mettre de l’USB 2.0 dans le Mac si c’est possible, par exemple avec une carte PC Card pour les PC portables.

Interview to Genius Loci Weimar

Par : Marco Savo

We have supported Genius Loci Weimar and promoted their open call for audiovisual artists since their early start.

We felt now was the perfect time to interview the organizers of the projection mapping festival. One of the fastest growing audiovisual events in Europe. (German version below)

1. Can you tell us about the history, concept ans goals of Genius Loci Weimar?

The history of Genius Loci Weimar began 8 years ago, in 2012, when, as part of various regional development initiatives, we were looking for a concept that could combine modern media and historical heritage.

This is how the Genius Loci Weimar Festival came into being, initially on a smaller scale, which has since developed into an event with up to 50,000 visitors annually. The concept has always been to deal with the “spirit of the place” and its individual history, the “Genius Loci”.

We want to achieve several things with GLW: Always present is the goal of presenting aesthetically pleasing and high-quality artworks in Weimar. In addition, we also want to create a positive public and to address audiences of all ages and backgrounds throughout the festival.

As already mentioned, the “Genius Loci” is the focus of our artistic works. It is therefore also the goal to discuss history and to stimulate historical-cultural reflection, which certainly also has political and social aspects.
Another goal is to create and develop our own format, a brand that can provide a framework for the production of artistic works in this field.

The projection mapping scene is still quite young. Visibility, communication and networking are therefore also important concerns of our festival. Especially through the programme formats TALK, CLUB and LAB. There, in the LAB, the support and encouragement of young talents is increasingly taking place.

The AV media are to be further established as an art form and artistic format and to move away from the “avant-garde” or even “nerd corner”, in which they are still often located. To emphasize their potential as an aesthetic direction with different artistic styles and tastes is the goal of Genius Loci Weimar.

2. The festival advocates the importance of video mapping as an audiovisual tool to deliver relevant contents, rather than mere entertainment gimmick. How do you think GLW have been impacting the relationship between the community and the architectonic heritage of the city?

Thanks to the festival, a considerable exchange takes place every year on several levels within the city. The citizens of Weimar have become real “fans” of the festival and its formats and are curiously looking forward to seeing which new locations will be played at each year and can be experienced in new ways.

Thus, in addition to very prominent buildings such as the National Theatre or the Herderkirche in the city centre, the Ilmpark and a squatted house in Gerberstraße have already been in the spotlight.

Especially at controverse locations, such as Gerberstraße 3, exciting exchanges can arise: There, the “bourgeoisie” became observer of the usually sceptically eyed façade of the squatted house, the inhabitants of the house project became hosts at the same time – also for the otherwise avoided “establishment”. An exciting situation for everyone, which can only arise during a live event and on-site.

Genius Loci Weimar 2015 Winner - Audiovisual Event

However, in any case, reflection is always encouraged: exchange and examination of past times and other lifestyles. The buildings also appear in new contexts, the library was once filled with fictitious visions or the theatre was shown as an important place of democracy. The selection and the type of performance should always have a very specific effect.

The fact that the concept is sustainable can be seen from the fact that other projection festivals are following up, launching similar strategies or even asking for a transferable concept.

In the end, the awareness for places and cities is always sensitized by the unique, site-specific spectacles.

3. GLW Open Call is the core of the festival. Can you explain the complex decision process you undertake every year to award the three prizes? Are there any project that have been particularly relevant for you in the past editions?

The audiovisual event starts already in spring with the publication of our Open Call and the announcement of the three competition buildings. A prize money of 15.000 Euro per building is awarded and we receive applications with artistic projects from all over the world during the competition period.

At the end of the competition, the applications will be judged by a jury of experts, while the public will also be able to vote at this early stage to decide who will perform their work in late summer.

During the past eight festival editions, a wide range of artistic styles were chosen as competition winners. Exciting, for example, was last year’s masterfully implemented, seemingly interactive audiovisual performance by Jonas Denzel on the façade of the newly opened Bauhaus Museum in Weimar.

Of 2016, the combination of live performance and video projection on a surface of water from Dieselqueen is also remembered.

Or the already mentioned mapping with the title “Grain Metal Punk” by VJZARIA on the façade of the squatted house in Gerberstraße.

4. During these uncertain times many audiovisual events decided to implement hybrid or online formats. Can you tell us about GLW position in the current scenario?

Genius Loci Weimar continues to believe in the presence and magic of live events. We continue to believe in video mapping as a unique, ephemeral and sensual event, accompanied by overwhelming sound and an immense size that can be experienced collectively in public space. This is why we continue to focus on the live event on-site.

5. How do you see Genius Loci Weimar in the next 10 years?

Genius Loci Weimar aims to further extend its constant growth path of recent years. As a festival and brand, GLW will continue to grow in breadth, but also in depth.

The reflective formats such as the relatively new TALK will continue to be expanded and refined. AV hybrids as a stage format, as has been the case with AV cinema in recent years, are also to be further developed and refined.

In the middle and long term, closer cooperation with universities is also conceivable, for example in the form of the creation of a new institute or similar. However, the core will always be the video and its connection to the historical heritage of the city!

Discover more about the audiovisual event


Können Sie uns etwas über die Geschichte, das Konzept und die Ziele von Genius Loci Weimar erzählen?

Angefangen hat die Geschichte von Genius Loci Weimar bereits vor 8 Jahren, im Jahr 2012. Im Rahmen verschiedener Initiativen zur Regionalentwicklung suchten wir nach einem Konzept, das es schafft, moderne Medien und historisches Erbe miteinander zu verbinden. Dabei entstand das Genius Loci Weimar Festival, zunächst in kleinerem Umfang, das sich inzwischen zu einer Veranstaltung mit bis zu 50.000 Besucher*innen jährlich entwickelt hat. Das Konzept war dabei schon immer die Auseinandersetzung mit dem „Geist des Ortes“ und seiner individuellen Geschichte, dem „Genius Loci“ eben.

Wir möchten mit GLW mehre Dinge erreichen: Immer präsent ist natürlich das Ziel, ästhetisch ansprechende und hochwertige Kunstwerke in Weimar zur Aufführung zu bringen. Dazu kommt aber auch der Anspruch, eine positive Öffentlichkeit zu schaffen und mit dem Festival milieu- und altersübergreifend Zuschauer*innen anzusprechen.

Wie schon eben gesagt steht der „Genius Loci“ im Mittelpunkt unserer künstlerischen Arbeiten. Es ist also auch Ziel, Geschichte zu thematisieren und zu einer historisch-kulturellen Reflexion anzuregen, die durchaus auch politische und gesellschaftliche Facetten in sich trägt.

Ein weiteres Ziel ist das Erschaffen und Weiterentwickeln eines eigenen Formats, einer Marke, die der Produktion von künstlerischen Arbeiten in diesem Bereich einen Rahmen geben kann.

Die Videomapping-Szene ist noch recht jung. Sichtbarkeit, Kommunikation und Vernetzung sind also auch wichtige Anliegen unseres Festivals, insbesondere durch die Veranstaltungsteile TALK, CLUB und LAB. Dort, im LAB, findet auch verstärkt die Nachwuchsförderung statt. Die AV-Medien sollen als Kunstform und als künstlerisches Format noch weiter etabliert werden und heraus aus der „Avantgarde-“ oder sogar „Nerd-Ecke“, in der sie noch teilweise verortet werden. Ihr Potenzial als eine ästhetische Richtung mit unterschiedlichen künstlerischen Stilen und Geschmacksrichtungen herauszustellen, ist Ziel von Genius Loci Weima

Das Festival befürwortet die Bedeutung von Video-Mapping als audiovisuelles Instrument zur Vermittlung relevanter Inhalte und nicht als bloßen Unterhaltungsgag. Wie hat GLW Ihrer Meinung nach die Beziehung zwischen der Gemeinschaft und dem architektonischen Erbe der Stadt beeinflusst?

Innerhalb der Stadt findet dank des Festivals jedes Jahr aufs Neue ein erheblicher Austausch auf mehreren Ebenen statt. Die Weimarer*innen sind inzwischen zu richtigen „Fans“ des Festivals und seiner Formate geworden und erwarten gespannt, welche neuen Orte jedes Jahr bespielt und auf neue Weise erfahren werden können.

So war neben sehr prominenten Gebäuden wie dem Nationaltheater oder der Herderkirche in der Innenstadt auch schon der Ilmpark und ein besetztes Haus in der Gerberstraße im Rampenlicht.

Gerade an kontroversen Orten, wie beispielsweise der Gerberstraße 3, können spannende Begegnungen entstehen: Das „Bürgertum“ wurde dort zum Betrachter der sonst so skeptisch beäugten Fassade des besetzten Hauses, die Bewohnerinnen des Hausprojekts wurden gleichzeitig zu Gastgeberinnen – auch für das sonst gemiedene „Establishment“. Eine spannende Situation für alle, die so nur im Moment eines Live-Events vor Ort entstehen kann.

Auf jeden Fall wird aber immer zur Reflexion angeregt: Austausch und Auseinandersetzung mit vergangenen Zeiten und anderen Lebenswelten. Auch die Gebäude treten in neuen Kontexten auf, die Bibliothek wurde einmal mit fiktiven Gebäudevisionen bespielt oder das Theater als Ort der Demokratie thematisiert. Die Auswahl und die Art der Bespielung sollen dabei immer eine ganz bestimmte Wirkung erzielen.

Dass das Konzept trägt, sieht man auch daran, dass andere Projektionsfestivals nachlegen und ähnliche Konzepte an den Start bringen oder sogar nach einem übertragbaren Konzept anfragen.

Letztlich wird immer das Bewusstsein für Orte und Städte durch die einmaligen, ortsgebundenen Spektakel sensibilisiert.

Der GLW Open Call ist das Herzstück des Festivals. Können Sie den komplexen Entscheidungsprozess erklären, den Sie jedes Jahr für die Vergabe der drei Preise durchführen? Gibt es Projekte, die für Sie in den vergangenen Ausgaben besonders relevant waren?

Das Festival beginnt bereits im Frühjahr mit der Veröffentlichung unseres Open Calls und der Bekanntgabe der drei Wettbewerbsgebäude. Pro Gebäude ist ein Preisgeld von 15.000 Euro ausgelobt und uns erreichen im Wettbewerbszeitraum Bewerbungen mit künstlerischen Projekten aus der ganzen Welt ein.

Nach Ende werden die Bewerbungen zum einen von einer Expert*innenjury beurteilt, und zum anderen kann auch das Publikum bereits an dieser frühen Stelle mit Hilfe des Public Votes mitbestimmen, wer im Spätsommer seinen Wettbewerbsbeitrag zur Aufführung bringen wird.

Während der vergangenen acht Festivaleditionen konnte eine große Bandbreite an künstlerischen Stilen als Wettbewerbssieger*innen gekürt werden. Spannend war zum Beispiel im letzten Jahr die gekonnt umgesetzte, scheinbar interaktive, audiovisuelle Performance von Jonas Denzel auf der Fassade des neu eröffneten Bauhaus-Museums in Weimar.

Aus 2016 ist aber auch die Kombination aus Live-Performance und Video-Projektion auf eine Wasserfläche von Dieselqueen in Erinnerung geblieben.

Oder das schon angesprochene Mapping mit dem Titel „Grain Metal Punk“ von VJZARIA an der Fassade des besetzten Hauses in der Gerberstraße.

In diesen unsicheren Zeiten haben sich viele audiovisuelle Veranstaltungen entschieden, hybride oder Online-Formate einzusetzen. Können Sie uns über die Position des GLW im aktuellen Szenario berichten?

Genius Loci Weimar glaubt auch weiterhin an die Präsenz und die Magie des Live-Events. An das Videomapping als einmaliges, vergängliches und sinnliches Ereignis, begleitet von überwältigendem Sound und einer immensen Größe, das kollektiv im Stadtraum erfahren werden kann. Deshalb fokussieren wir uns auch weiterhin auf die Live-Veranstaltung vor Ort.

Wie sehen Sie Genius Loci Weimar in den nächsten 10 Jahren?

Genius Loci Weimar will seinen konstanten Wachstumspfad der letzten Jahre weiter ausbauen. Als Festival und Marke soll weiter in die Breite, aber auch in die Tiefe gewachsen werden. Die reflektiven Formate wie etwa der noch recht neue TALK sollen auch weiterhin ausgebaut und verfeinert werden. Auch die AV-Hybride als Bühnenformat, wie beim AV-KINO in den letzten Jahren schon geschehen, soll noch weiter verfeinert werden.
Mittel- und Langfristig ist aber auch eine engere Kooperation mit Hochschulen, etwa in Form der Schaffung eines eigenen Instituts oder ähnliches denkbar

Kern wird aber immer das Video und seine Verknüpfung mit dem historischen Erbe der Stadt bleiben!

The post Interview to Genius Loci Weimar appeared first on Audiovisualcity.

Un PowerBook JLPGA en vente au Japon

Sur un site de vente japonais, une personne vend le rare (et très laid) PowerBook 170 JLPGA. Il demande 1 200 000 ¥ pour ce morceau d’histoire, soit pratiquement 10 000 €.

Ce modèle a été proposé il y a de longues années lors d’un tournoi de golf japonais, et il est très coloré, bien plus que les habituels PowerBook gris. Il semble en bon état, mais sans batterie et sans le chargeur d’origine. Les photos et le texte indiquent par contre que l’écran subit l’effet tunnel, comme pas mal de PowerBook de l’époque : un cercle sombre apparaît après quelques minutes et prend de plus en plus d’importance, jusqu’à rendre l’écran illisible.

Un “beau” Mac

On voit le début de l’effet tunnel

Le cache batterie est là

WEBINAIRE : Fabriquer des pièces métalliques grâce à l’impression 3D résine

Comme chaque mois, 3Dnatives organise un webinaire dédié à la fabrication additive, s’interrogeant sur ses matériaux, ses applications ou encore les défis rencontrés par ses utilisateurs. Du médical à l’industrie ferroviaire en passant par le secteur dentaire, ces webinaires permettent […]


Réinventer la production : bilan et perspectives de la fabrication additive face à la crise

Face à la crise sanitaire que nous traversons, force est de constater que la fabrication additive a joué un rôle capital pour répondre à l’urgence et trouver des solutions concrètes pour protéger et soigner. De nombreux acteurs du marché se…


Un week-end riche en courts animés et 360° avec We Are One

Par : Shadows

Nous vous l’avions annoncé : le festival en ligne We Are One a débuté en ligne le 29 mai, avec de nombreux projets disponibles temporairement sur la chaîne officielle de l’évènement grâce à des partenariats avec une vingtaine de festivals du monde entier.

Si vous ne vous y êtes pas déjà plongés, et comme le festival se termine le 7, nous ne saurions trop vous recommander de profiter de ce week-end pour explorer les contenus proposés : courts-métrages, longs-métrages, interviews, documentaires, … Vous y trouverez forcement de quoi satisfaire vos envies. Des playlists vous aideront à y voir plus clair.

Voici en particulier les contenus animés :

Sélection animée du Festival d’Annecy – public adulte

  • Shannon Amen de Chris DAINTY, produit par l’ONF – Avant-première en ligne (jamais diffusé en ligne)
  • Le Cortège de Pascal BLANCHET, et Rodolphe SAINT-GELAIS, produit par l’ONF – Avant-première en ligne (jamais diffusé en ligne)
  • Black Barbie de Comfort ARTHUR, produit par BLUEMOON PRODUCTIONS – Avant-première en ligne (jamais diffusé en ligne)
  • The Battle of San Romano de Georges SCHWIZGEBEL, produit par STUDIO GDS – Présentation spéciale (normalement sur accès payant, visionnage spécial gratuit dans le cadre de We Are One)
  • Mémoire d’une minute de Joan GRATZ, Christopher HINTON, Paul DRIESSEN, Theodore USHEV, Dennis TUPICOFF, Janet PERLMAN, Marv NEWLAND, Jim BLASHFIELD, Bill PLYMPTON et Diane OBOMSAWIN, produit par GRATZFILM – Avant-première mondiale (inédit)
  • Dew Line de Joanna PRIESTLEY, produit par PRIESTLEY MOTION PICTURES

Sélection animée du Festival d’Annecy – pour toute la famille

  • Bird Karma de William SALAZAR produit par DREAMWORKS ANIMATION
  • Bilby de Liron TOPAZ, Pierre PERIFEL, SANS JP, produit par DREAMWORKS ANIMATION
  • Marooned de Andrew EREKSON, produit par DREAMWORKS ANIMATION

Guadalajara International Film Festival – contenus animés

  • 32-RBIT, par Victor Orozco Ramírez
  • Cerulia, par Sofía Carrillo
  • The Cats, par Alejandro Ríos

We Are One – contenus animés

  • Passenger, par Isobel Knowles et Van Sowerwine
  • Crow : The Legend, par Erin Darnell
  • Minotaur, par Munro Ferguson
  • Extravaganza, par Ethan Shaftel

Tokyo International Film Festival – contenus animés

  • Genius MParty : Happy Machine, par Masaaki Yuasa

Festival de Sundance

  • Nutag – Homeland, par Alisi Telengut

Les Quatre saisons de Léon – Festival d’Annecy

Cette collection rassemble les 4 films suivants : L’Hiver de Léon de Pierre-Luc GRANJON et Pascal LE NÔTRE, Le Printemps de Mélie de Pierre-Luc GRANJON, L’Été de Boniface et L’Automne de Pougne de Pierre-Luc GRANJON et Antoine LANCIAUX, produits par FOLIMAGE, l’ONF, TPS TELETOON DIVERTISSEMENT SUBSÉQUENCE INC. et distribués par Folimage – Avant-première en ligne mondiale (déjà diffusé dans un nombre de territoires restreints)

L’article Un week-end riche en courts animés et 360° avec We Are One est apparu en premier sur 3DVF.

Matrox UK Announces AVIXA-Certified, AV-over-IP Educational Webinar Series Starting May 26, the Matrox Knowledge Net training program offers AV professionals insight into the latest topics, trends, and best practices in networked AV  Montreal — 21 May 2020 — Matrox® is pleased to announce the 2020 Matrox Knowledge Net AV-over-IP Training Program: a free, five-part online ...

The post appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Magewell Expands Recording and Live Streaming Capabilities in Ultra Stream Encoders

Free firmware update adds new recording modes for internal and USB storage, RTSP protocol support, and more May 26, 2020 — Nanjing, China: Magewell has released a new upgrade for its award-winning Ultra Stream family of live streaming encoder hardware that further enhances the devices’ exceptional ease of use and versatility. Available in all new ...

The post Magewell Expands Recording and Live Streaming Capabilities in Ultra Stream Encoders appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.