Connexion
En janvier dernier, le service d’impression 3D Protolabs annonçait le rachat du service de fabrication en ligne 3D Hubs. Lancé en 2013, ce dernier a connu de nombreuses évolutions au cours des dernières années, en commençant par proposer une plate-forme…
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Sur le marché de la fabrication additive, l’utilisateur n’est pas à l’abri de potentiel défauts de fabrication, lui faisant perdre du temps, de l’argent, mais aussi un niveau de qualité finale important. Afin de limiter au maximum ces défauts et…
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Le secteur de la fabrication additive a vu depuis ces dernières années l’offre de matériaux exploser : les acteurs du marché innovent et cherchent des solutions pour répondre aux besoins et contraintes des industriels. On le sait, le nerf de…
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Frank Wiedemann, a German musician and label owner of the iconic Innervisions and Bigamo Musik, is best known as one half of Âme and is also a member of electronic music acts A Critical Mass, Schwarzmann, and Howling. We sat down with him to hear about a number of exciting projects he has stirring – […]
The post Frank Wiedemann talks Circle of Live, creative processes, “playing free”, & more appeared first on DJ TechTools.
UpNano est une jeune entreprise basée à Vienne qui a récemment mis au point une technologie d’impression 3D à haute résolution à l’échelle microscopique. Basée sur le procédé de polymérisation à 2 photons (2PP), la nouvelle technique est capable de…
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Le Ceit est un centre de recherche à but non lucratif qui se consacre au développement de projets de recherche industrielle appliquée. Elle a été créée à l’initiative de l’Université de Navarre en 1982 et travaille actuellement en étroite collaboration…
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On commence l’année 2021 avec une startup que vous connaissez sûrement si vous suivez l’évolution de l’impression 3D dans la construction : ICON. Basée aux Etats-Unis, l’entreprise fait en effet partie des acteurs qui bouleversent ce secteur. Avec une demande…
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Twente Additive Manufacturing (TAM) est une entreprise hollandaise qui a développé une méthode d’impression 3D béton pour construire les murs de nos futures maisons. Sa particularité est qu’elle s’appuie sur la fameuse suite de Fibonacci pour ce faire, imaginant ainsi…
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Créée en 2018, l’entreprise MELD Manufacturing a développé une imprimante 3D métal un peu particulière : alors que la plupart des solutions actuelles s’appuient sur le processus de fusion qui consiste à faire fondre des particules de métal, cette machine…
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Cinematographer Michael Pessah discusses the lighting, camera, and overall planning it took to pull off shooting a beach night exterior. Smiley Face Killers is a treatise in …
Born in Romania, raised in Canada, now living in Berlin, Simina Grigoriu describes herself as a “DJ and producer, a mom and a wife, a two-time immigrant and a citizen of the world.” She’s gradually perfected her sound over the course of her decade-long career in music. She produces techno with diamond-hard, dance floor grooves, […]
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C’est en 2014 que le marché de la fabrication additive commence à entendre parler de Sinterit, un nouveau fabricant polonais ayant pour ambition de baisser les prix des machines de frittage laser. L’entreprise était partie d’un constant simple : le…
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Take a look behind the script of David Fincher’s new biopic on the legendary Citizen Kane screenwriter Herman “Mank” Mankiewicz.
La modélisation 3D est une étape clé dans le processus de fabrication d’une pièce, surtout quand il s’agit de l’imprimer en 3D. Elle fait appel à des connaissances et compétences spécifiques qu’il n’est pas toujours facile d’acquérir. C’est d’ailleurs pour…
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The crash (or snap) zoom is a cinematography technique you’ll see in big-budget films. Here's how to create it at home.
Interested in becoming a noteworthy director of photography? The best place to begin is by studying the great cinematography masters.
Let's have a peek into the famous YouTuber’s camera bag and a look at how creative digital video is changing.
Expert en impression 2D depuis plus 30 ans, le groupe grec LinoGroup a récemment ouvert une entité dédiée à la fabrication additive. Baptisée Lino3D, celle-ci a pour objectif d’accompagner les industriels dans leur processus de fabrication, en les aidant à…
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The music of Detroit Swindle is largely house, but takes in a wide range of influences. Compare, for example, their recent laid-back, electro-soul remix of Hablot Brown’s ‘GO’ to their burgeoning collection of soul-infused 4/4 underground jams on their Heist catalogue. Their 2018 album ‘High Life’ featured a strong mix of jazz flavoured cuts, melodic […]
The post Interview: Detroit Swindle – “Played at the right moment, these tracks can really create magic.” appeared first on DJ TechTools.
Depuis quelques années maintenant, l’entreprise française Alsima accompagne les professionnels dans l’adoption de l’impression 3D FDM/FFF. Elle les aide à choisir la bonne machine et le matériau adapté à leurs besoins et projets, puis elle les forme à une utilisation…
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Il y a près d’un an, un nouvel acteur a fait son entrée sur le marché de la fabrication additive métal : Meltio. Cette entreprise, basée entre Las Vegas, les États-Unis et l’Espagne, a misé sur une technologie qui a…
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L’impression 3D a aussi sa place dans le secteur électronique où elle permet notamment de concevoir de plus petits composants, plus fins et plus précis que via des méthodes de production classiques. On parle alors de micro-impression qui peut permettre…
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Arris Composites, l’un des pionniers des matériaux composites de nouvelle génération, a annoncé fin mai qu’il avait obtenu un financement de 48,5 millions de dollars dans le cadre de la série B pour étendre ses capacités de fabrication de composites…
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Fondée en 1876, Henkel est une multinationale réputée dans le secteur de la consommation et dans le secteur industriel. Bien que le siège social de l’entreprise soit situé à Düsseldorf, en Allemagne, plus de 80% de ses employés travaillent à…
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It all begun in 2009. After quitting my job as an engineer I moved to Madrid to study a Master in Motion Graphics while making my first experiences in the world of video art.
In 2010 I started up several collaborations with art organizations in Madrid and they proposed to me to shoot a dance performance by the choreographer Iratche Ansa.
The performance was going to be held at the Matadero in Madrid. From that recording I put together my first video dance “Comunicación Interpretación Automática” which had a very good reception.
A few months later I made my first dance pieces with live visuals with choreographer Barbara Fritsche.
Thanks to those projects I was able to work on the musical “Hoy No Me Puedo Levantar” in 2013. In 2014 I directed my first proper theatre show: “Girasomnis”.
I try to “connect” the visuals with the dancers. Sometimes I encourage the dancers to “connect” or follow my visuals.
In this project I also composed the music. This is very useful as I have better control of the creative process. With this project I tried to evoke feelings in the audience without words: just images, dance and instrumental music.
This quarantine caused an abrupt stop in my job, but also gave me time to start imagining something new.
The idea was born during the first week of confinement. At the start, It was simple: I just wanted to publish some of our best projects and make them public. But I also felt a need for a change.
The last 3 years I was quite disconnected from my artistic side due to working mostly on commercial projects.
I was just focusing on making money to pay my bills and trying to have a stable team for audiovisual production. The outbreak of the Covid-19 has been an absolute shift in our work. We started questioning the possibility of doing our shows as we did before.
So, in April I started to visualize and write a synopsis of this new project. I then decided to publish “Dance Mapping Virtual Tour 2020” as a memorandum of all these years of physical shows.
This new production is planned to be released in VR and physical 360 projection format in late 2021.
When I have the budget I can work with some powerful audiovisual freelancers from my network of collaborators. Failing that I work alone.
I also work with very talented dancers/choreographers from Barcelona. During the years they started to understand my ideas and transform them in beautiful choreographies.
I have mostly 2 ways of work. I compose a music draft and then I work on the visuals and choreography or vice versa: I make a draft of visual content with a draft choreography and I try to match the sounds and music.
Sometimes I give leeway to the dancer, so they can create their own choreography and then I create the visual content following their movements.
In the last few years I also worked with some talented musicians for a faster audiovisual production.
This was a concept from Roman Torre. In 2015 I shared a space with him and we collaborated together on a video mapping of a rotating stone. It was a nice project called Liquid Series.
In the video mapping area I also tried to develop innovative concepts, differing from the typical big projection on a building facade. 2 Years ago I started to develop the concept of “Holomapping”. I am planning to finish it next year as well.
Nowadays, it is possible to learn a lot following digital online courses, but it is always better if somebody guides you. As with everything in life the best way to learn is practice, making mistakes and improving.
Spain is not the best country for arts, I would say. As far as I know French artists or from other European countries have more grants and support from their governments, but everything is possible if you are passionate about your work.
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Miele, le fabricant allemand d’appareils ménagers et d’équipements commerciaux haut de gamme, a révélé en mai dernier qu’il mettrait gratuitement à disposition les fichiers STL des accessoires pour ses appareils ménagers dans le cadre de son projet 3D4U. Comme vous…
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We met in 2009 in Buenos Aires, and we’ve decided to work together. Cecilia comes from animation and Ygor from painting and drawing. We mixed our best and created VJ Suave.
At that time, we used Adobe Flash, After Effects and Photoshop for animation. Later on we met Maki, and he introduced us to Tagtool, a tool to draw and animate in real time.
The first version of Tagtool was a DIY thing, you needed to have a wacom, arduino, knobs and sliders, ps2 controller, all connected to a computer and a controller box.
You needed to build it yourself, it was a bit complicated. Later on Maki and his crew started to develop Tagtool for iPads and we fell in love with it.
Most of our animations are made frame by frame, using Flash, and this takes time and people to work. Tagtool is easier. It’s a tool that allows us to create drawings and animation by ourselves in a short amount of time.
The VR is a very immersive solo experience. You actually believe you are inside a different reality. In Floresta Encantada, together with our crew, we’ve created an experience where participants are teleported to a magical forest where they can interact with both characters and the scenery.
They can play instruments near a bonfire and even drink medicine from a shaman. Each experience is unique as the map is very big. Some people say that they saw a spaceship, others say they had a trip on mushrooms, experiences which are rare in the map. At thee end of the journey all travelers come back to reality with a big smile.
We were happy and we wanted to keep doing moving projections. Instead of keeping on creating videos we wanted to try the performance format, so people on the streets could see it live.
Instead of a car, we thought of a way that could be affordable to us, first a bicycle, and then finally the tricycle as our moving base to project from.
Suaveciclo was created to be able to move our animations throughout the city, bringing joy to everyone who happens to be around. As we don’t use background in the projection the characters look more alive, with a digital graffiti style.
The idea was to take the characters out of the TV screen and make this colorful universe that was inside our heads to merge it with the real world.
It felt like a perfect gap for us to fit in. From then till now, we keep on doing what we love, what is true for us and we believe anything made like that will always be successful.
There have been a lot of adaptations till we got to the actual version of Suaveciclo. First version was very heavy, had small sound speakers and an overall flimsy structure for the projector.
We also had issues as we bought the wrong batteries (now we only use deep cycle batteries). We now have 2 tricycles in São Paulo, one for Ygor and one for Cecilia. What we use now is actually the 5th version.
A few months ago we finally installed an electric battery to help us doing the cycling. It’s also equipped with great sound speakers and a tripod head adapted for the projector.
We like the idea of more visual artists working with images in movement throughout the city. We encourage and help people around the world to build an audiovisual tricycle to express themselves.
Ygor: VJ Suave was the starting point for me. Thanks to that I developed my career in animation, creative technology, virtual reality and music. If it wasn’t for it I would still be doing graffiti on the city walls, or maybe working in the forest.
Ceci: I would be applying technology to some other area, maybe holistic health.
Nowadays it is blooming. During the isolation, many audiovisual artists from all over Brazil started to project videos on building walls outside their windows. They have come together and created a group called Projetemos. Thanks to this group, we can share our animations to be projected in different cities.
Great artists have come out of Brazil like VJ Spetto, VJ Vigas, United VJs, and there’s definitely a scene for vjing and videomapping!
If VJ Suave had a little bit of each event, we would be defined by this mix which is something new with technology, animation and movement.
With Suaveciclo we can create magical moments. We gather people to see the city in a different way, more imaginative. We colour the path with light, expressing love. We think this can open people’s hearts, at least for a second.
Regarding the colours, we have the limitation of the projector. For Suaveciclo performances we carry a 5.500 lumen projector, which is very bright and powerful for a tricycle. However darker colours can be difficult to project. That’s why our colour pallet is always bright, with high contrast and saturation.
Kids are essential for our performances, because they appreciate magical beings. They want to play with the characters. When they do, adults start to believe in that magical moment too: when kids are yelling and chasing our enchanted characters.
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Il y a quelques semaines, le constructeur automobile Porsche présentait des pistons imprimés en 3D pour le moteur de sa Porsche 911 GT2 RS. Une méthode de fabrication qui lui a notamment permis de réduire le poids global de la…
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The protagonist is the hand, the starting point of the artistic expression. From a simple gesture the whole audiovisual narrative takes over the building, truly engaging with the audience by inviting them to play along.
As part of our series about the Genius Loci Weimar 2019 winners, our young journalist Marta Minguell asked the creator about his creative process and how he approached the audiovisual event open call.
Basically, one person claps a rhythm and the crowd responds by clapping the same rhythm. In “The Shape of Sound” hands on the façade animate the audience through gestures to participate and rhythmically respond.
It’s a game of call and response. The viewers communicate with their hands. It’s a dialogue between them and the new Bauhaus Museum. By responding to the façade, the audience completes the projection. The rhythms are arranged in a way that they become increasingly difficult.
The simple beginning encourages as many spectators as possible to participate. The increase of rhythmical difficulty is not only challenging but also fun for the audience. It creates a feeling of community.
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Photo Credits: Henry SowinskiPhoto Credit: Jonas DenzelThe building transforms into an oversized instrument which is played by hands. For me it’s important that not only the visuals but also the sounds refer to the building. This is why the sounds were directly recorded at the new Bauhaus Museum facade.
Together with sound designer Sören Schaudel, sounds and rhythms were recorded on the actual building by knocking on windows, stroking on rough walls, drumming on railings, anything that makes sounds.
These sounds are then arranged in a composition which is an interplay of image and sound. Recording the sounds on the façade is an essential and inspiring part of the design process of the projection.
In the specific case of the new Bauhaus Museum, the fine horizontal architectural lines on the facade were used to create a keyboard which then transforms the building into a huge piano played by over-dimensional hands.
Interview to Genius Loci Weimar
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We had the chance to see their artwork NUCLEUS³ live at Signal Festival 2018. An audiovisual thunderstorm infusing every element of the facade with vibrant life: another of their masterpiece!
As part of our series about the Genius Loci Weimar 2019 winners, our young journalist Marta Minguell asked the creators about their creative process and how they approached the audiovisual event open call.
In the first layer, the absolute beginning, we chose the main “topics” to work on graphically. In this case the architecture, the facade composition and the historical and urban context of the Deutsches Nationaltheater Weimar.
Being architects, we believe that the building plays the part of the protagonist. Our main instruments for the visual narrative creation are building plans, sections, 3D-models, satellite images, 2D and 3D geodata, plans and models of the surroundings and finally the landscape of the city itself.
Photo Credits: Oliver BlumIn the second layer we reflect upon the historical, political and social impact of the Nationaltheater in the past, present and future. With this in mind as well as the current political and social development in Germany and Europe we decided we have to make some kind of statement, in using clear font. Finally, the categorical imperative (Kant) and its analogies found in the different world religions seemed to be the right answer.
The third layer is the sound design. Obviously it is important for composing the atmosphere in the visuals. We try to envision what will happen visually. We start working in 2D and 3D.
As soon as we have a rough cut, we send it to Jarii van Gohl / Soundselektor (our sound magician). Then he works on the sound composition and sends it back to us. Then the ping-pong-game starts, by sending back and forth. This goes on until we achieve the desired result.
We also use different techniques offered by video editing software like DaVinci Resolve and others. For 3D we mostly use Cinema 4D and some known and unknown Plugins.
Often there are given topics. Thereafter we start the conversation. Talking and sketching are the main instruments here. We shout out ideas and discuss them. This process leads to new ideas, which are also discussed and the wheel begins to turn. Eventually we find a concept which we can all agree on.
Then the typing starts. We try to formulate our ideas the way an “outside” person would interpret it. Meanwhile the visualization starts. We try to squeeze in as much concept as possible within little pictures.
Finally we work on matching the text and the visuals, which is always a good test for the concept itself. If we cannot connect the written words with the images we created, we know there is a bug and we know what to do. Finally we add some artistic flavors and statements.
Then we win the call, the game begins and a new discussion starts. We love it!
Interview to Genius Loci Weimar
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