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La Rivière à l’Envers : une goutte d’eau et deux quêtes

Par : Shadows

Le Cartoon Forum 2020 a été pour nous l’occasion d’en savoir plus sur un projet que nous avions déjà évoqué l’an passé, porté par le studio d’animation 2D oOolala et la société de production Dandelooo : La rivière à l’envers, adaptation des romans du même nom de Jean-Claude Mourlevat.

En voici le pitch :

La Rivière à l’Envers est le récit de deux quêtes : Hannah veut recueillir une goutte d’eau de la rivière Qjar pour sauver son oiseau ; Tomek veut conquérir l’amour d’Hannah. Au fil du récit, ces deux quêtes se succèdent, se chevauchent et enfin se complètent.

Produite pour Canal+, la série se déroulera au format 9×26 minutes feuilletonnant. La réalisation est confiée à Paul Leluc, la bible littéraire à Marie de Banville et Jean Regnaud, la bible graphique à Chloé Cruchaudet et Thomas Reteuna.

Sur le plan visuel, les premiers éléments laissent présager un univers riche et varié, avec des décors variés et soignés.

Outre les concepts visibles sur cette page, un teaser est disponible chez Dandelooo.

L’article La Rivière à l’Envers : une goutte d’eau et deux quêtes est apparu en premier sur 3DVF.

Ultra HD Forum Tracks Over 190 UHD Services, Adds Emphasis on NGA, Releases Guidelines v2.4, and Plans First Watermarking API

 FREMONT, CA – October 20, 2020 – The Ultra HD Forum celebrates its fifth year of successfully bringing together broadcasters, service providers, consumer electronics manufacturers, and technology vendors to accelerate Ultra HD television deployment. The Forum has refreshed its website to better reflect its activities during this time of constrained in-person interactions. Version 2.4 of ...

The post Ultra HD Forum Tracks Over 190 UHD Services, Adds Emphasis on NGA, Releases Guidelines v2.4, and Plans First Watermarking API appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Dell XPS 13 9310 : Tiger Lake Inside

Très logiquement, la gamme de Dell XPS 13 9310 suit  la démarche d’Intel autour de sa plateforme EVO. Le constructeur sort donc une nouvelle gamme équipée de processeur Tiger Lake de onzième génération et suit le cahier des charges imposé par le fondeur. 

Dell XPS 13 9310

Le Dell XPS 13 9310 reste un des plus beaux et plus aboutis ultraportables du marché. Fin, élégant et bien construit, il propose une dalle de 13.4 pouces de diagonale dans un encombrement minimaliste. L’écran occupe 91.5% de l’espace disponible, les bordures fines lancées par la marque il y a quelques années sont devenues sa marque de fabrique. L’affichage proposé sera décliné en 1920 x 1200 pixels avec ou sans dalle tactile capacitive ou en 3840 x 2400 pixels uniquement disponible en dalle tactile.

Dell XPS 13 9310

Trois coloris sont annoncés avec des modèles au châssis noir, blanc ou argent. Tous sont construits en alliage d’aluminium associé à des reposes poignets en fibre de carbone ou en fibre de verre tissée pour la version blanche.

RéférenceCores/ThreadsTDPFréquencesUnités GFXFréq GFXCacheRAM
i7-1185G74/812-28W3/4.8/4.3 GHz961.35 GHz12 MoDDR4-3200
LPDDR4x-4266
i7-1165G74/812-28W2.8/4.7/4.1 GHz961.3 GHz12 MoDDR4-3200
LPDDR4x-4266
i5-1135G74/812-28W2.4/4.2/3.8 GHz801.3 GHz8 MoDDR4-3200
LPDDR4x-4266
i3-1125G44/812-28W2/3.7/3.3 GHz481.25 GHz8 MoDDR4-3200
LPDDR4x-3733
i3-1115G42/412-28W3/4.1/4.1 GHz481.2 GHz6 MoDDR4-3200
LPDDR4x-3733
i7-1160G74/87-15W1.2/4.4/3.6 GHz961.1 GHz12 MoLPDDR4x-4266
i5-1130G74/87-15W1.1/4/3.4 GHz801.1 GHz8 MoLPDDR4x-4266
i3-1120G44/87-15W1.1/3.5/3 GHz481.1 GHz8 MoLPDDR4x-4266
i3-1110G42/47-15W1.8/6.9/3.9 GHz481.1 GHz6 MoLPDDR4x-4266

A l’intérieur de ce Dell XPS 13 9310, on découvrira des puces s’étalant sur un très large segment de solutions Tiger Lake. L’entrée de gamme emploiera un Core i3-1115G4 mais il sera possible de choisir des puces allant jusqu’au très haut de gamme Core i7-1185G7 équipées d’un chipset graphique Intel Xe avec 95 EU.

Dell XPS 13 9310

Exit les versions 4Go de mémoire vive, Dell ne proposera que des modèles en 8, 16 et 32 Go de LPDDR4x-4267 MHz en double canal. L’entrée de gamme sera donc plus costaud que les modèles précédents. Un détail très important puisque ces machines ne proposent pas de possibilités d’évolution sur ce poste. La mémoire est soudée à la carte mère et votre choix de départ vous suivra toute la vie de votre portable.

Dell XPS 13 9310

Le stockage, uniquement en SSD PCIe NVMe x4, sera décliné en 256 Go pour l’entrée de gamme mais pourra atteindre 2 To avec des paliers de 512 Go et 1 To suivant les besoins (et les budgets). On retrouvera une connectique très (trop ?) minimaliste. Deux ports Thunderbolt 4, un lecteur de cartes MicroSDXC et un port jack 3.5 mm pour casque et micro. Si Dell livrera un adaptateur pour retrouver un port USB Type-A afin de pouvoir brancher une simple clé USB… Le manque de sortie HDMI demandera probablement un recours à un hub USB Type-C afin de retrouver les options classiques d’un PC portable traditionnel.

Dell XPS 13 9310

Dell réussi à proposer une webcam dans le maigre châssis autour de l’écran, un modèle avec fonction infrarouge permettant la reconnaissance faciale avec Windows Hello. Un lecteur d’empreintes digitales sera également présent. Evidemment, plateforme EVO oblige, les machines proposeront un module Wifi6 et Bluetooth 5.0 et une batterie 52 Wh qui devrait proposer une excellente – et réelle – autonomie. Le clavier reste évidemment rétro éclairé et le pavé tactile couvert d’une surface en verre pour une glisse plus agréable.

Dell XPS 13 9310

La version développeur sous Ubuntu de la machine est également mise à jour suivant les mêmes conditions.

Dell XPS 13 9310

La version “souple” de l’engin, le modèle 2-en-1 reprend également les mêmes composants avec deux petites limitations techniques cependant : le maximum de stockage sera limité à 1 To et la batterie passe à 51 Wh. Probablement pour des raisons d’espace libre laissé par les charnières à 360° de ce modèle. Uniquement disponible en version tactile, la machine pourra s’utiliser en mode tablette avec la prise en charge d’un stylet actif.

Dell XPS 13 9310

Déjà disponibles aux US, ces modèles ne sont pas encore annoncés en France… Il faut dire que les stocks des modèles sous processeurs de dixième génération semblent être encore bien garnis chez divers revendeurs. La Fnac par exemple propose une remise de 1699.99€ à 1444.99€ sur le Dell XPS 13 9300, une version Core i5-1035G1 8/512 Go de la machine…

Dell XPS 13 9310 : Tiger Lake Inside © MiniMachines.net. 2020.

Inter-company content exchange for the modern media supply chain: an explainer

Rick Clarkson Chief Strategy Officer, Signiant In today’s media industry, moving large amounts of content swiftly and securely between partners is mission critical. Automated, inter-company content exchange, between companies of all sizes and geographies, is critical in the production and even more so in the distribution of dynamic and diverse films, television shows, video games, ...

The post Inter-company content exchange for the modern media supply chain: an explainer appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

⁣ ⁣⁣ ⁣#repost @luis_satch⁣ ⁣__________________⁣ ⁣⁣ ⁣Otro...




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⁣#repost @luis_satch⁣
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⁣Otro homenaje a todos los involucrados en esta #pandemia estamos muy agradecidos. Gracias al @gobnau que nos dio la oportunidad de llevar este agradecimiento a más personas, fuimos los primeros en hacer #videomapping en las torres de Satelite y ahora en una basílica que tiene más de 500 años. @pluxstudio @omagicamx @eventosinlimites. Gracias a todos los que hacen posible esto. #video #homenaje #covid #doctores #bomberos #basilicadelosremedios #naucalpan #luces #colores #epson #reflects #lights #3D #millumin #watchout #resolume #aftereffects #motiongraphics #eventos #meetingplanners #meetings
https://www.instagram.com/p/CEaH9tbJAww/?igshid=iwtv4srol26x

⁣ ⁣⁣ ⁣#repost @photographyagf⁣ ⁣__________________⁣ ⁣⁣ ⁣ᴍᴀᴘᴘɪɴɢ...




⁣⁣
⁣#repost @photographyagf⁣
⁣__________________⁣
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⁣ᴍᴀᴘᴘɪɴɢ ᴍᴇ ! 20 🐺⁣
⁣.⁣
⁣▶#MedinadelCampo #mappingme #MAPPINGME20 #videomapping #millumin @rodrigotamariz_musicmapping (at Medina del Campo)
https://www.instagram.com/p/CEaIIUXp-HI/?igshid=1qu39o0h5wk70

Starfish granted international patents for TS Splicer

Reading, UK, 19 August 2020: Starfish Technologies, a pioneer in transport stream processing and advertising insertion, has been granted European and US patents that cover a range of techniques employed within its TS splicer product. The TS Splicer is a software-based solution for clean switching of encoded transport streams and is used for media switching and ...

The post Starfish granted international patents for TS Splicer appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Virgin Media selects Globecast for playout of ‘pop-up’ HD exercise channel ‘Get Movi

Par : Jump

London, 14th July 2020 — Globecast, the global solutions provider for media, has announced that Virgin Media, an existing customer, has turned to the company to provide a robust and flexible playout solution for its ‘pop-up’ HD exercise channel Get Moving. During these ongoing difficult Covid times, online and TV-based exercise classes and workout recommendation ...

The post Virgin Media selects Globecast for playout of ‘pop-up’ HD exercise channel ‘Get Movi appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

JP Delport promoted Managing Director at Broadcast Solutions UK

Broadcast Solutions UK are pleased to announce the appointment of JP Delport as Managing Director. Broadcast Solutions UK is a subsidiary of Broadcast Solutions, one of Europe’s biggest System Integrators, headquartered in Germany. Having joined the UK company at the beginning of 2020 as Sales Director, JP Delport will now take the helm as Managing ...

The post JP Delport promoted Managing Director at Broadcast Solutions UK appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

MTI Film Accelerates Set-to-Screen Workflow Management with CORTEX v5.3

New version adds features to render multiple dailies formats simultaneously, enhanced support of HBO, Hulu and Quibi, and streamlined dead pixel detection for Netflix. HOLLYWOOD— MTI Film today announces the release of CORTEX v5.3, the latest version of its family of products for managing workflows on set and in post. This latest release includes a ...

The post MTI Film Accelerates Set-to-Screen Workflow Management with CORTEX v5.3 appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

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.

Face Nature – Future of the head and sensory apparatus

Face Nature – Future of the head and sensory apparatus

Created by Madeline Schwartzman, "Face Nature" is a series of experiments produced within the context of See Yourself X: Human Futures Expanded (SYX), a recent publication by Madeline that looks at human perception and the sensory apparatus and questions what will be the physical future of the head and the sensory apparatus in fifty years time.

The post Face Nature – Future of the head and sensory apparatus first appeared on CreativeApplications.Net.

What digital did next: Digital Arts and Social Distancing

Par : Marco Savo



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

Marco Savo from Audiovisual City and Kate Rolfe from The Revels Office have never met in person. Theirs is a true digital relationship born of the pandemic.

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

Audiovisual City is a digital magazine that promotes and supports audiovisual artists and events worldwide. Connecting hundreds of digital artists from across the world, it is the go-to place for inspiration and information when it comes to the application of digital technologies in artistic expression.

The Revels Office is a cultural consultancy who specialises in finding new revenue for the arts, advising organisations on commercial opportunities and uniting them with funding partners who value the unique, high quality content that only the cultural sector can produce. Together with a network of consultants -The Catalyst Network – the team at The Revels Office manage a range of projects at the intersection between arts and commerce.

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

At a time when the sector is anxiously remodelling their core operations to survive months of low visitor numbers, reduced income through established business lines, and a new, uneasy socially distanced experience, we wanted to investigate what untapped value digital arts might offer.

We share with you here a summary of our findings, designed to inspire you at a critical time, to offer valuable ideas to consider in your re-modelling plans, and to decipher the role that digital can play in a sector based almost entirely on live and tangible experiences…


Case Study: Enjambre Cellular

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

It is a collective strategy game in which different levels and challenges must be overcome, based on the idea of a labyrinth. Controlled externally by passers-by, Enjambre Celular offers an example of a pandemic-proof artistic installation.


Case Study: Distances

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

They are invited to have contact virtually within the same image, bringing them together face to face. The head-to-head image created by the software is trying to constantly reduce the proxemic distance between the two people, creating unique and ephemeral meetings with the other and making a connection even when physically apart.

  • Distances Scenocosme Audiovisual Artists
  • Distances Audiovisual Artwork


Digital art vs digital design.

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

Put simply – do you need to move your live content online for commercial, audience or safety reasons, or do you want to create a new interpretation of your content that will explore your stories in an entirely new way? Neither choice is right or wrong, but it will impact the outcomes you achieve, as well as the process you go through.

“The importance of concept is key; you must start with your concept and then chose the technology to match”

Hayley Cantor

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

No solution is quicker for overcoming an image of being elitist, static or uninteresting than a digital initiative, so long as it is done well, has a clear purpose and audience, and so long as it incorporates some kind of live and/or unique element that ensures the digital is not simply a mimic of the live experience.

While digital design is fantastic for bringing to life educational and historic content, and is arguably simpler for translating to an online platform, where digital arts stands out is in the sensorial, emotive experience that they can create, lasting longer in people’s memories and creating a sense of community and harmony even if you encounter the art alone.

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

Case Study: Virtual Archive.

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

Via a VR headset, the user flies through a 3D data-point cloud formed, visualizing more than 1,700,000 documents present in SALT Research archive collections. Refik Anadol’s installation was displayed as an extension to the artist’s Archive Dreaming project.

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


Case Study: Natural History Museum of Valparaisa.

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

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

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


It’s time to set the price.

The price we have paid for the vast amounts of thrilling, comforting and informative digital content that has been dispersed throughout the global lock-down, is the expectation that digital means free.

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

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

In this way there is still value, there are no barriers to audiences engaging with you, and you can use data and reach to collaborate with new funding partners, upsell products and services, and request donations wherever possible.

In this way we have seen a really positive response during the pandemic, with culture-lovers willingly paying for online experiences, seeing this as a charitable donation to save something they love rather than a charge for valuable entertainment. However this has not yet translated into a consistent approach that audiences and funders recognise, or indeed made up the huge gap in revenue that arts organisations face.

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

Given the high value outlined by option 1, it seems reasonable that – just like the expectation to pay for the cinema or a gig – you will have to pay to participate in digital cultural experiences. This transactional view may not sit well alongside arts experiences that are traditionally free, such as museum-entry, but this demonstrates the opportunity presented by digital arts as opposed to digital design; by creating a new experience on a new platform, arts organisations can create something of value to their audiences (and new ones), one which better warrants a participation charge.

Ultimately this is an argument of supply and demand, but what we endorse is a collective reassessment of how and when to charge for digital experiences, thereby protecting arts organisations and artists from giving away valuable content for free, especially when for a time this might be one of their only viable sources of revenue.


Case Study: Fulldome Festival

The oldest full dome projection festival has been held virtually for the first time this year due to the pandemic, charging a ticket price for the online experience. A courageous decision from the organisers who decided to go full steam ahead, offering a 360 view of the festival using VR headsets.

Case Study: Mutek San Francisco, Nexus Experience

Mutek is one of the top audiovisual events worldwide, born in Montreal and then expanded through an international network. The San Francisco edition has been online this year with their ‘Nexus Experience’, hosting live AV performers on two stages, offering digital galleries, online workshops, and ‘viewing party’ film screenings. The event was free and open to donations, with 100% of the festival proceeds going directly to the artists.

  • MutekSF_Audiovisual_Event
  • Fulldome_Festival_Logo_Audiovisual_Event


Demystifying the digital process (and budget).

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

For those who want to consider digital as part of their future plans, digital arts producer Steph Clarke shares some considerations:

• Once a digital installation, artwork or exhibition is installed, it can often run 24/7 with minimal staffing and low running costs. Not only can this make valuable budget savings, it also accommodates far higher audience numbers over time, and can easily be adapted to allow for social distancing measures.

• Digital works can easily have their content re-purposed to suit different objectives. Content can be refreshed regularly to suit seasonality, adapted for VIP or stakeholder events, and used for advertising purposes if required.

• It is relatively easy to scale digital work depending upon size of venue or audience size, meaning this approach can be considered for a variety of projects, places and budgets.

• Digital can be used to extend and enhance audience engagement before and after the event/exhibition itself, through engagement online and via apps, creating more touchpoints with your intended audience and opportunities to capture insights and data.

• By digitalising the content for a digital installation, you are simultaneously archiving it too, preserving it for future generations and achieving important cost-savings.

• Given the huge range of digital formats available – apps, projection, light shows, VR, AR – there will always be a format suitable for your budget, timescale and objectives.


Case Study: 400 Conejos.

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

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

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


Case Study: Pinata Tweet.

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

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

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



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

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

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

This article was written by Kate Rolfe from The Revels Office and Marco Savo from Audiovisual City with contributions from Hayley Cantor (Audiovisual City Creative Director, Multidisciplinary Graphic Designer and VJ), Sean Carroll (Business Improvement Project Manager), Nicola Casperson (Brand Marketing, Events and Place-Making Consultant), Steph Clarke (Digital Arts Producer), Marta Minguell Colomé (New Media Artist, VJ and Photographer), Amy O’Brien (Events Producer), and Mónica Rikic (New Media Artist). Collectively our experience includes roles at the National Gallery, Natural History Museum, Secret Cinema, Battersea Power Station, Westfields, and London’s Philharmonia Orchestra.

BUY US A COFFEE?BUY US A COFFEE?

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

I was fascinated by flockaroo’s single pass CFD shadertoy....



I was fascinated by flockaroo’s single pass CFD shadertoy. I simplified and recreated on KodeLife to make it easy to play around with. https://github.com/keijiro/KodeLife2020

I was fascinated by flockaroo’s single pass CFD shadertoy....



I was fascinated by flockaroo’s single pass CFD shadertoy. I simplified and recreated on KodeLife to make it easy to play around with. https://github.com/keijiro/KodeLife2020

Ruptly Partners with TVU Networks for Video Delivery

Berlin, March 31, 2020: Ruptly, the award-winning video news agency, has today announced a strategic partnership with TVU Networks, the global online broadcast distributor. The long-term collaboration will allow media partners to receive Ruptly’s live transmissions over the internet at full broadcast quality using the TVU Grid platform – a faster, more intuitive and more ...

The post Ruptly Partners with TVU Networks for Video Delivery appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

NativeWaves Appoints Eva Wimmers As Its New CEO

Par : whitenoise

Broadcast technology solutions provider NativeWaves GmBH is pleased to announce that telecommunications executive Eva Wimmers has joined the company as CEO. Ms. Wimmers has over 24 years of experience as an executive in the technology and telecommunications industries, most recently as President of Huawei/HONOR Europe and Vice President of HONOR Global. Prior to joining Huawei ...

The post NativeWaves Appoints Eva Wimmers As Its New CEO appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Inside The Mix With Ana Monte And Daniel Deboy

Q: Tell me about the company. What inspired you both to start Delta Soundworks? Ana:Founded by myself (Ana Monte, lead sound designer) and Daniel (Deboy, lead sound engineer) in Heidelberg, Germany in 2016, DELTA Soundworks is a 3D/immersive audio post-production facility. Our projects span across installations, virtual reality, 360-degree films and gaming, as well as ...

The post Inside The Mix With Ana Monte And Daniel Deboy appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

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