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Fork : un voyage imaginaire et surréaliste

Par : Shadows

Fabrice Le Nezet nous présente sa dernière réalisation : Fork, un court-métrage qui nous invite à plonger dans l’imagination d’une femme lors de sa visite d’un musée. Face à une fourchette exposée comme oeuvre d’art, elle va laisser dériver ses pensées…

In a museum, a woman looking at a Fork exhibited as a piece of Art lets her imagination run wild.
The film is a surreal journey interrogating our perception of objects.

What happens when you take an object from daily life and move it outside of its original context?
What is left of an object when it loses its function? An abstract shape, a sculpture?
Can we deconstruct this object into simple elements and create variation of this object?
Can those objects be combined to form a larger structure?
Can those objects become alive to break free from human ownership?

Derrière ce concept destiné à interroger notre perception des objets, on retrouve le studio londonien Optical Arts. Nous vous invitons à découvrir leur site, puisqu’il propose des images des coulisses de ce court-métrage. L’équipe précise avoir utilisé Maya et Houdini, avec Redshift pour le rendu. Nuke, Flame et Resolve ont ensuite permis de gérer compositing et grading.

L’aspect procédural a évidemment été un atout pour mettre en oeuvre des idées et faire des essais. Du côté de l’animation, un mélange de physique et de procédural soigneusement contrôlé ont été employés.

Creative Direction & Production: Optical Arts
Direction & Design: Fabrice Le Nezet
Music & Sound Design: Niccolò Chotkowski at Smider
VFX Supervisor: Fabrice Le Nezet
2D Supervisor: Miguel Wratten
3D Artist: Max Johnson
Colourist: Martin Pryor
Live Action Producer: Caroline Kinch
Live Action DP: Joe Jackson
1st Assistant Camera: Elliott Lowe
Set Assistant: Jamie-Lee Harding
Model: Emma Norodom at W Models
Clothing: Studio Nicholson

L’article Fork : un voyage imaginaire et surréaliste est apparu en premier sur 3DVF.

June 2020 TOP 5 Engagement

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

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.

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.

What digital did next: Digital Arts and Social Distancing

Par : Marco Savo

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

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

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

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

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

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

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

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

Case Study: Enjambre Cellular

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

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

Case Study: Distances

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

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

  • Distances Scenocosme Audiovisual Artists
  • Distances Audiovisual Artwork

Digital art vs digital design.

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

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

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

Hayley Cantor

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

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

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

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

Case Study: Virtual Archive.

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

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

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

Case Study: Natural History Museum of Valparaisa.

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

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

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

It’s time to set the price.

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

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

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

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

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

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

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

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

Case Study: Fulldome Festival

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

Case Study: Mutek San Francisco, Nexus Experience

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

  • MutekSF_Audiovisual_Event
  • Fulldome_Festival_Logo_Audiovisual_Event

Demystifying the digital process (and budget).

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

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

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

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

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

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

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

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

Case Study: 400 Conejos.

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

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

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

Case Study: Pinata Tweet.

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

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

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

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

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

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

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


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

Suppressions d’emplois, réorientation et démission chez Magic Leap

Par : Shadows

Lancée en 2010, la société Magic Leap promettait de révolutionner le secteur de la réalité virtuelle/augmentée/mixte. Sa promesse : un système permettant de mêler images virtuelles et réel de façon particulièrement réaliste.
Avec une campagne de communication efficace, elle a su créer des attentes énormes et multiplier les levées de fonds : plus de deux milliards de dollars auprès d’investisseurs variés, dont Alphabet (maison mère de Google).

10 ans plus tard, la révolution annoncée n’a pas eu lieu. Le Magic Leap One dévoilé en 2017 et au prix élevé, n’a pas eu l’impact commercial espéré.

Magic Leap annonce désormais se recentrer sur le secteur professionnel : la fin d’ambitions grand public sonne comme un échec cuisant. Pour expliquer ce revirement, le communiqué évoque notamment la crise actuelle qui a rendu les investisseurs frileux : moins de capitaux, moins d’investissements à long terme. Magic Leap, qui affirme garder toute sa confiance dans son propre potentiel à long terme, choisit une approche focalisée sur « les opportunités de chiffre d’affaire à court terme », et donc les entreprises.

Ce revirement s’accompagne de licenciements. Si Magic Leap préfère pudiquement ne pas en révéler le nombre, Bloomberg indique qu’il s’agit de 1000 personnes environ, soit la moitié des effectifs. A noter, la suppression d’une centaine de postes liés à l’animation : rappelons en effet que Magic Leap produisait du contenu de type divertissement pour ses propres produits, et avait un partenariat avec Weta Workshop. Les studios dédiés, chez Weta comme chez Magic Leap, sont donc supprimés.

Enfin, suite à ces multiples annonces, le fondateur Rony Abovitz annonce désormais qu’il quitte son poste. Il assurera la transition le temps de trouver un nouveau CEO. Son rôle futur est incertain : l’annonce évoque un possible rôle de conseiller au sein de l’équipe dirigeante.

L’article Suppressions d’emplois, réorientation et démission chez Magic Leap est apparu en premier sur 3DVF.

SoftAtHome and RDK Collaborate to Build a New Video Product for Service Providers

Working with the RDK community, SoftAtHome is building a full RDK Video based solution integrating multicast, DVB, Live DASH streaming, a Universal search aggregator, new premium video streaming apps, voice controls, and its white-label ImpressioTV user experience.     Paris (FRANCE) – 26 May 2020 – SoftAtHome, an independent software company for broadband, video, and ...

The post SoftAtHome and RDK Collaborate to Build a New Video Product for Service Providers appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Memorium : un voyage dans l’au-delà

Par : Shadows

Philippe Giai-Miniet et Fabrice Mathieu dévoilent Memorium, un court-métrage qui nous invite à suivre le parcours d’un homme dans l’eau-delà. Si son parcours évoque tout d’abord certaines légendes classiques sur la mort, la suite de son chemin révèlera une toute autre vision…

Au niveau technique, Memorium a essentiellement été tourné sur fond vert, de façon à pouvoir mêler les prises de vue de l’acteur à des décors créés par Marc Giai-Miniet. On notera aussi des éléments 2D et 3D (certains décors miniatures ont d’ailleurs été remodélisés pour faciliter la production).

Voici par ailleurs un aperçu des maquettes utilisées :

Un Film de Philippe Giai-Miniet & Fabrice Mathieu.

– Réalisation : Fabrice Mathieu

– Scénario : Philippe Giai-Miniet & Fabrice Mathieu

– Rôles : Philippe Giai-Miniet.

– Directeur de la photographie : Vincent Valade.

– Image & Montage : Fabrice Mathieu.

– Etalonnage : Steve Morel.

– Mixage 5.1 : Marc-Gilbert Lachin.

– Photographie des « Boîtes » : Benoît d’Amiens d’Hébécourt (, Sylvie Giai-Miniet.

– Costume du Psychopompe : Michel Blancard & Monika Mucha (« Les Ailes de Nuit »).

– Décors Plateau : Daniel Baillargeon.

– Musiques : Alexandre Azaria « L’Auberge Rouge ».
Roque Baños « The Machinist ».
John Debney « The Relic ».
Philip Glass « Secret Window ».
Christopher Young « Child’s Game ».

– « Making of » du tournage : Arnaud Hottier.

– Story-board : Véronique Hubert.

– Infographistes 2D : Sylvie Giai-Miniet, Fabrice Mathieu, Steve Morel, François Vergnères.

– Infographistes 3D : Josselin Couëslan, Julien Meunier, Collectif « Clockworks Studio » (Vincent Coccina, Matthieu Fons, Cham Mucha).

– Production : Théâtre du Mantois (Jérôme Imard, Eudes Labrusse, Anne Souty), Studio La Bouée Bleue (Philippe Percebois, Vincent Valade).

– Tous nos remerciements à : Alysse Buridan, Sylvie Fonseca, Marc & Sylvie Giai-Miniet, Armelle Mathieu, Dominique Passe-Coutrin, Muriel Schwob et à L’AMSAV (Aides et soins à domicile, Olivier Courtois et Françoise Ducros).

– Ce film a reçu le soutien de la Communauté d’Agglomération de Saint-Quentin-en-Yvelines (Marie-Noèle Pistora & Cécile Santander).

L’article Memorium : un voyage dans l’au-delà est apparu en premier sur 3DVF.

SubtitleNEXT chosen by University of Warsaw for live subtitling courses –

Par : RadianceC

Copyright University of Warsaw   20 May 2020, Warsaw, Poland  – IABM-member PBT EU is pleased to confirm that the Department of Interpreting Studies and Audio-visual Translation (ISAT), as part of the University of Warsaw’s Institute of Applied Linguistics – selected SubtitleNEXT for their subtitling courses. The Institute of Applied Linguists at the University of ...

The post SubtitleNEXT chosen by University of Warsaw for live subtitling courses – appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Panasonic Starts Sample Shipments of a Board to FPC Connector for 5G Millimeter-wave Antenna Modules

This new connector achieves reliable signal transmission for running millimeter-wave communication applications and can be expected to contribute to the widespread uptake of millimeter-wave communication devices. Osaka, Japan - Panasonic Corporation tod...

Increasingly Intuitive Device for Gaining Insight into People's Heart

Panasonic's one-of-a-kind Human Body Communication System HiT provides a new type of communication, which facilitates communication among individuals simply by coming in contact with each other. When shaking hands, the device worn on one's wrist starts transmitting data, prompting communication by ...

Cooke Optics’ Anamorphic/i Standard and Special Flair Prime Lenses Help Bring DC Universe’s Stargirl to Life

When cinematographer Scott Peck first learned that Stargirl was going to become a series on the DC Universe streaming service, he started doing a lot of research about the DC Comics character STARGIRL and its creator Geoff Johns.  That led him to the Cooke Optics’ Anamorphic/i standard and Anamorphic/i SF (Special Flair) lenses. “To me, ...

The post Cooke Optics’ Anamorphic/i Standard and Special Flair Prime Lenses Help Bring DC Universe’s Stargirl to Life appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Mixcloud Launches A DJ Live Streaming Platform With Copyright Figured Out

Streaming on Mixcloud Live

The live streaming scene might feel crowded, but this week Mixcloud has introduced their own endeavor. They’ve launched a streaming platform built specifically for DJs, Mixcloud Live—not only taking on streaming giants like Facebook, Twitch, and Youtube, but also creating much-needed relief for DJ streams that are continually flagged for copyright. The team at Mixcloud […]

The post Mixcloud Launches A DJ Live Streaming Platform With Copyright Figured Out appeared first on DJ TechTools.

Les matrices de Maya à votre service

Par : Shadows

Cédric Lenhardt, artiste 3D généraliste mais également enseignant au sein de l’école Emile Cohl, annonce le lancement d’une série de tutoriels francophones autour de l’utilisation des matrices dans Maya (et notamment sa version 2020).

Voici la première vidéo de cette série ; les suivantes seront proposées sur Vimeo.

Récemment, certains étudiants me demandaient en quoi le nouvel attribut “.offsetParentMatrix” pouvait changer la donne dans MAYA 2020…

Voici un premier exemple assez simple de ce que l’on peut faire avec cet attribut : effectuer un “Freeze” des coordonnées tout en conservant les axes d’orientation !

L’article Les matrices de Maya à votre service est apparu en premier sur 3DVF.

Broadcast Pix Now Shipping RadioPix breakthrough in easy to use, cost effective Visual Radio Production

Broadcast Pix™ has started the first customer shipments of RadioPix,™ its new voice-automated, integrated visual radio production solution. RadioPix lets any radio station create compelling visual programming and generate new revenue streams through an easy-to-install, user-friendly system based on proven technology, all at an affordable price of $15,000. RadioPix Combines Macros with Voice Automation for ...

The post Broadcast Pix Now Shipping RadioPix breakthrough in easy to use, cost effective Visual Radio Production appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

DejaEdit empowers multiple remote editors to work together –

Par : RadianceC

DejaSoft offers 50% off DejaEdit licenses to assist with Remote Working   For Immediate Release, 18 March 2020, Gothenburg, Sweden  – To help assist with the COVID-19 outbreak measures, IABM-member DejaSoft is offering editors 50% off all their DejaEdit licenses over March and April. DejaEdit plays an essential role in increasing productivity such as allowing ...

The post DejaEdit empowers multiple remote editors to work together – appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.