Collanews

🔒
❌ À propos de FreshRSS
Il y a de nouveaux articles disponibles, cliquez pour rafraîchir la page.
Aujourd’hui — 2 mars 2021Vos flux RSS

3D Hubs et Protolabs veulent créer la plus grande offre de fabrication au monde

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…

3Dhubs_cover
À partir d’avant-hierVos flux RSS

#Startup3D : Addiguru et son logiciel de surveillance en temps réel pour l’impression 3D

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…

Addiguru_Interview_Cover

4D Pioneers accompagne les industriels vers une économie responsable et durable grâce à la 3D

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…

4Dpioneers

Frank Wiedemann talks Circle of Live, creative processes, “playing free”, & more

Par : Angel Bali

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 et l’impression 3D haute résolution à l’échelle microscopique

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…

upnano_cover (1)

Le Ceit et la métallurgie des poudres dans l’industrie 3D

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…

Ceit-cover

#Startup3D : ICON et l’impression 3D sur la Lune

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…

ICON_cover

Twente Additive Manufacturing place l’impression 3D au coeur d’une construction plus durable

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…

twente_cover

MELD Manufacturing, l’impression 3D de pièces métalliques à l’état solide

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…

MELD_cover

An Interview with Michael Pessah, ASC, on Filming a Beach Night Exterior

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 …

Simina Grigoriu shares DJ insights: “Experimentation is key. Try EVERYTHING.”

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, […]

The post Simina Grigoriu shares DJ insights: “Experimentation is key. Try EVERYTHING.” appeared first on DJ TechTools.

Rencontre avec Sinterit, le fabricant qui a cassé les prix du procédé SLS

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…

sinterit_pro

Grib3D, l’application de modélisation 3D gratuite basée sur la réalité augmentée

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…

grib2

How to Create a Low-Budget Crash Zoom from Two Shots

The crash (or snap) zoom is a cinematography technique you’ll see in big-budget films. Here's how to create it at home.

Tips from Renowned Cinematographers for Your Next Film

Interested in becoming a noteworthy director of photography? The best place to begin is by studying the great cinematography masters.

Lino3D facilite l’intégration des technologies d’impression 3D chez les industriels

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…

Lino3D_cover

Interview: Detroit Swindle – “Played at the right moment, these tracks can really create magic.”

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.

ALSIMA Studio, une chaîne YouTube pour renforcer ses connaissances en impression 3D FFF

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…

ALSIMA_cover_video

Meltio et l’utilisation de la fabrication additive métal dans le secteur aérospatial

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…

Meltio

#Startup3D : Voltera conçoit des circuits imprimés grâce à la fabrication additive

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…

voltera_cover

Arris Composites et l’utilisation de la fabrication additive composite pour la production de masse

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…

arriscomposites-cover

Pourquoi Henkel a-t-il investi dans la fabrication additive ?

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…

henkel-cover

Interview to Paco Gramaje

This is our interview to Paco Gramaje, art director of the Paco Gramaje Studio in Barcelona.

The studio creates immersive multidisciplinary AV shows, especially focusing on the fusion between projection mapping and dance performance.

We asked Paco a few questions about his background and creative career and also about the new projects he has been cooking up during the quarantine period.

1. When did you start working on the interaction between audiovisual and dance performance, and how did you get involved? What are the aspects that are more appealing to you about working in this interdisciplinary field?

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.

I had discovered the potential of dance from an audiovisual perspective and the inner revelation of what I wanted to do in the next few years.

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”.

Interview to Paco Gramaje
2. You are the creator of “Girasomnis”, an itinerant project that has been traveling around the world. Can you tell us about the creative process behind the inception of this innovative project?

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.

Paco Gramaje - Audiovisual artist
3. Paco Gramaje Studio recently launched the “Dance Mapping Virtual Tour 2020” which it’s fundraising on Gumroad. This is in preparation for a new cutting-edge AV dance project in 2021 involving a 360 immersive environment . Can you give us some insights about the whole project?

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.

Therefore I needed to devise another type of format for the new normal awaiting us: a fully immersive virtual Dance Mapping Show.

As my previous theatre production, without the pressure of a client and using the Girasomnis music.

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. 

Now it’s time to go further. I want to gather all the knowledge I gained during the last 10 years and apply it to a virtual reality show, where I can break the limits and make an immersive 360º visual performance with dancers.

This new production is planned to be released in VR and physical 360 projection format in late 2021.

4. When working on a project how do you pick your collaborators? What are the main roles you look for in your team? 

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. 

5. Can you describe your general creative approach when starting on a new project?

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.

6. In 2015, Paco Gramaje Studio won an award at the International Mapping Festival in Girona for the Micro-mapping category. Could you share with us your thoughts about the concept of “Micro-mapping”? 

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.

7. We are aware you regularly teach courses and masterclasses of video mapping applied to performing arts, in Spain and Latin America.


What specific training would you recommend for digital artists who have just started their career and why? Which are the countries with more opportunities for audiovisual arts, in your opinion?

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.

Website

Facebook | Twitter | Instagram | Vimeo | YouTube

The post Interview to Paco Gramaje appeared first on Audiovisualcity.

Miele met à disposition les fichiers STL de ses accessoires pour appareil ménager

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…

Miele_cover

Interview to VJ Suave

Of course we couldn’t hold ourselves from interviewing this beautifully talented duo of audiovisual artists.

We have never hidden the fact we particularly love the playfulness and delicacy of their AV style. Their street art itinerant approach open the door to a myriad of creative opportunities.

Throughout the years (while keeping fit cycling their AV bikes) they have been engaging with audience of all ages and backgrounds. Here our interview to VJ Suave: enjoy it!

0. How did you meet and decide to work together on this beautiful project?

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.

Interview to VJ Suave - Audiovisual artists
1. How have your techniques advanced since the beginning of your career? What specific technological tools have enabled you to express yourself in a different way because of this?

In the beginning, we took a class on how to use Modul8 and it blew our minds. Cecilia came up with the idea to animate Ygor’s drawings and. Using a small projector, we’ve projected the animations from the window on the street outside.

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.

We also started to investigate virtual reality. In 2017 we’ve created Floresta Encantada / “Enchanted Forest”, an interactive VR experience.

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.

2. Your work with the Suaveciclo is possibly the one thing that you are most well known for in Europe. What was the original thought behind the idea and did you realise how successful the concept would be when it first occurred to you?

In 2011 we created 2 short movies, Run and Homeless. They were very experimental because it was our first time trying to move the projections. The videos have been showcased by MTV and received a great response.

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.

Interview to VJ Suave - Audiovisual artists

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.

When we started VJ Suave back in 2009, we did a lot of research into the VJ world and, at that time, it seemed to us there was no character animation in the VJing scene.

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.

3. What technical issues did you encounter when you first came up with the suaveciclo setup? How do you feel about other artists using this idea in their performances?

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. 

4. Do you remember what first drew you to the audiovisual world? What do you think you would be doing now if you hadn’t discovered the art of video projection?

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.

5. How is the world of video art in Brazil? Is there a big scene, or is it something quite unusual? Is there anything about your artistic context that you feel influences your work?

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!

6. What has been the most exhilarating experience or biggest achievement for you? What are you most proud of?

We are proud of having been able to show our art in more than 20 countries at different kinds of audiovisual events: film, street art, animation, music, bike, art technology and light festivals.


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. 

7. A lot of your animation work has an infantil theme with bright colours, organic shapes and friendly faces. Would you say that children are your main audience, or at least, that they are who you most have in mind when you come up with the narratives for your work?

Interview to VJ Suave - Audiovisual artists

We don’t have a specific audience in mind. We create what we are able to express. Sometimes it is naive with simple forms, sometimes it can be more complex. 

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. 

VJ Suave on Audiovisual City

Website

The post Interview to VJ Suave appeared first on Audiovisualcity.

Porsche et l’utilisation de la fabrication additive

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…

Porsche_cover

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.

ruestungsschmie.de 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.

ruestungsschmie.de 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

ruestungsschmie.de

The post ruestungsschmie.de and Soundselektor Interview – Genius Loci Winners appeared first on Audiovisualcity.

❌