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Colourlab Ai Emerges to Revolutionize Post Production

Hollywood, CA – November 24, 2020 – Hollywood-based Color Intelligence garnered significant attention in the filmmaking community this past September when it announced Colourlab Ai, a revolutionary new color grading system designed to radically improve the process of color correction by leveraging Artificial Intelligence (AI). After two months of private beta testing with 500 industry ...

The post Colourlab Ai Emerges to Revolutionize Post Production appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

De Profundis Clamavi : un artefact bien mystérieux

Par : Shadows

Mise à jour du 27/10/2020 : ajout d’un making-of.
Publication initiale le 24 août 2020.

Fanny Cabezas, Camille Cartigny, Emilie Kittler, Ayrwann Mary, Mélanie Petit et Agathe Vermeil dévoilent De Profundis Clamavi, leur court de fin d’études à New3dge (promotion 2019).

Un homme s’introduit dans une gigantesque salle afin d’y récupérer un artefact. Mais ce dernier est bien gardé…

Le titre du court est une référence au début d’un psaume biblique, De profundis clamavi ad te, Domine (« Des profondeurs, je crierai vers Toi, Seigneur »). Ce psaume et ces mots ont inspiré un grand nombre d’artistes dans tous les domaines.
Comme l’indique le générique, l’équipe de Mocaplab a participé au projet, en fournissant ses services de motion capture.

L’article De Profundis Clamavi : un artefact bien mystérieux est apparu en premier sur 3DVF.

DxO PhotoLab 4 en test : un lancement qui va faire du bruit

Par : Shadows

Le spécialiste des solutions photo DxO lance la version 4 de PhotoLab, son logiciel de traitement d’images, avec une annonce qui mérite le détour.

La mise à jour apporte différentes avancées :

  • un espace de travail paramétrable par type de correction, système de favoris, corrections actives : parfait pour retrouver facilement les éléments importants ;
  • une nouvelle fonction recherche qui se veut assez ouverte : si vous venez d’une solution concurrente comme Lightroom, par exemple, vous pourrez trouver une fonction via son nom dans Lightroom ou dans PhotoLab. De quoi sauter le pas plus facilement ;
  • le renommage par lots d’images ;
  • un système de copier-coller sélectif des corrections (qui fait penser à ce que propose déjà Lightroom) ;
  • un historique avancé, qui liste les corrections et permet de les modifier ;
  • un watermarking plus facile, avec prévisualisation directe et possibilité d’inclure image, texte en simultané.

Autant de nouveautés certes intéressantes, mais qui sont selon nous largement éclipsées par LA grande avancée de cette version 4 : DxO DeepPRIME.

DeepPRIME : des millions d’images au service de vos photos

Le concept de DxO DeepPRIME part d’un constat : depuis son lancement en 2003, DxO a testé une grande quantité d’appareils photos et d’objectifs, notamment en mesurant le bruit numérique dans diverses situations. Le résultat est une base de millions de photos calibrées.
D’où une idée : utiliser ce stock immense de références pour corriger d’autres photos, prises avec des combinaisons boîtier/optique déjà mesurées par DxO.

C’est ce que propose DxO DeepPRIME, via l’intelligence artificielle et le deep learning, en assurant simultanément le dématriçage (la génération de l’image à partir des données brutes issues du capteur de l’appareil photo) et le débruitage. Selon DxO, effectuer les deux opérations en même temps évite d’introduire certains artefacts et produit de meilleurs résultats.

A la clé, selon DxO : un gain de qualité équivalent à deux stops de sensibilité ISO. Reste à vérifier les promesses marketing dans la réalité.

Comparatif DxO

DeepPRIME en test

Et puisque les promesses sont grandes, nous avons immédiatement choisi un test difficile : un cliché pris lors d’une visite de la partie accessible au public des catacombes de Paris. 1/40s, f/4.0 et ISO 25 600 : le cliché brut est sans surprise très bruité. Lightroom permet d’éliminer le bruit mais nécessite de nombreux ajustements : il s’agit de trouver un bon équilibre entre correction et effet artificiel. DxO DeepPRIME nous surprend immédiatement : le mode automatique propose un résultat propre, qui retrouve en prime des détails quasiment noyés dans le bruit d’origine. Impressionnant.

Second essai avec un autre appareil, plus ancien : un pensionnaire de la ménagerie du Jardin des Plantes, pris au 7D à f/4.0, 1/60s, ISO 6400.
Nous avions eu du mal à corriger sous Lightroom (en haut) : DxO DeepPRIME (en bas) retrouve nettement plus de détails, que ce soit sur les yeux (qui retrouvent leur couleur), les paupières, le pelage.

Encore un exemple, à ISO 8000, sur un cliché que nous avons pris lors de l’incendie de Notre-Dame : là où nous arrivons à éliminer le bruit sous Lightroom (haut) au prix d’un rendu délavé, DxO Prime nous donne immédiatement un résultat détaillé.

La différence est encore plus flagrante en recadrant davantage (DeepPRIME est en bas), notamment sur les blocs de pierre. L’échafaudage est défini plus clairement.

Sans vous assommer de comparatifs, plusieurs essais avec des situations variées (portrait en basse lumière lors de conférence, macro sans flash, photos d’objets à la texture détaillée pris dans des musées…) nous confirment que DxO DeepPRIME donne de très bons résultats.

Certaines personnes objecteront que le problème se situe peut-être entre la chaise et le clavier, et elles n’auront pas forcément tort : nous ne prétendons pas maîtriser parfaitement les subtilités du débruitage sous Lightroom, qui comporte pas moins de 6 curseurs d’ajustement.

Et justement, nous y voyons un argument supplémentaire, pour ne pas dire l’argument principal, en faveur de DxO Prime : remplacer l’apprentissage d’un système de débruitage par un simple clic et une correction automatique est une amélioration énorme, même à qualité identique. Nous ne pouvons donc que vous inviter, si votre style de photo vous amène régulièrement à faire face au bruit numérique, à tester ce produit par vous-même.

Bien entendu, DxO Prime n’est pas parfait : si la combinaison boîtier/objectif n’a pas été testée, l’outil cherchera à débruiter l’image mais ne pourra pas donner un résultat aussi bon. D’où l’intérêt de vérifier que votre matériel est supporté.
Un bon moyen de le savoir est tout simplement de parcourir vos dossiers photo via DxO Photolab : le logiciel propose de télécharger un module optique (qui gère notamment la correction des défauts optiques) si la combinaison boîtier/objectif est connue, et affiche un point d’exclamation sinon.

Notez qu’il est possible d’opter pour un téléchargement automatique de ces modules, semi-manuel (le logiciel demande confirmation avant chaque téléchargement), ou totalement manuel : DxO Photolab propose un installeur de modules. Ce dernier s’avère particulièrement utile pour vérifier en un clin d’oeil les combinaisons compatibles.

Un outil perfectible ?

Un regret pour finir : les performances. Comme l’indique DxO lui-même lors du choix de la technique de débruitage, DeepPRIME est nettement plus long à calculer le résultat que les approches déjà proposées jusqu’ici (et qui restent incluses dans l’outil). Conséquence : impossible de disposer d’un aperçu sur toute l’image dans DxO Prime, il faudra vous contenter de la loupe. De même, le temps d’export des images est nettement plus élevé : +44% environ par rapport à l’option de débruitage « PRIME » du même logiciel. L’enjeu pour une prochaine version sera donc sans doute d’améliorer le temps de traitement.

En haut à droite : la loupe d’aperçu

Pour en savoir plus

L’article DxO PhotoLab 4 en test : un lancement qui va faire du bruit est apparu en premier sur 3DVF.

Fancy Film Accelerates with GB Labs FastNAS

Aldermaston, UK, 21 September 2020 – GB Labs, the leader in intelligent storage solutions, has provided its FastNAS storage system to Fancy Film, Los Angeles, enabling the facility to complete colour correction and other finishing services on a major new documentary TV series. Tony Shek, Fancy Film CTO, said, “We were rapidly getting into 4K finishing and HDR ...

The post Fancy Film Accelerates with GB Labs FastNAS appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Pokémon Go – Comment choisir l’évolution de Evoli

Par : Bastien L
pokémon go evoli choisir évolution

Pokémon Go regroupe de nombreux Pokémon issus des jeux originaux sur Game Boy. Parmi eux, on retrouve l’adorable Evoli. Pour rappel, ce Pokémon est le seul à pouvoir évoluer de multiples façons. Si vous souhaitez obtenir l’une des évolutions d’Evoli en particulier, il existe une méthode très simple pour choisir en quoi se transforme la petite créature. Découvrez comment choisir entre Aquali, Pyroli, Voltali, Mentali, Noctali, Phyllali, Givrali et Nymphali.

Depuis les premiers jeux GameBoy, le Pokémon Evoli présente une particularité. Il est le seul à posséder plusieurs évolutions différentes : Aquali, de type eau, Voltali de type électrique, et Pyroli de type feu. Avec l’arrivée des versions suivantes, Evoli peut évoluer en encore plus de créatures différentes !

Le joueur peut choisir l’évolution d’Evoli en utilisant des items spéciaux, en changeant le niveau de bonheur du petit animal, ou encore en fonction de l’heure de la journée à laquelle il évolue. Toutefois, dans Pokémon Go, le système d’évolution est un peu différent de celui des jeux originaux.

Dans le jeu mobile développé par Niantic, il suffit en effet d’utiliser des bonbons pour faire évoluer ses Pokémon. Cependant, Evoli peut également subir ces diverses évolutions dans PoGo.

A priori, cette transformation est aléatoire. L’évolution d’Evoli est déterminée au hasard, et le joueur est donc supposé faire évoluer des Evoli jusqu’à obtenir la créature désirée. Fort heureusement, il existe toutefois des astuces permettant de choisir entre Aquali, Voltali et Pyroli mais aussi Mentali et Noctali, Phyllali, Givrali et Nymphali. Découvrez ces astuces à travers notre dossier complet.

Pokémon Go : comment faire évoluer Evoli en Aquali, Pyroli ou Voltali ?

Pour choisir l’évolution d’Evoli dans Pokémon Go, il suffit tout simplement de renommer Evoli avant de le faire évoluer. Si vous le renommez Rainer, il se transformera en Aquali. Le nom Pyro lui permettra d’évoluer en Pyroli. Enfin, un Evoli renommé Sparky se changera en Voltali. Il s’agit d’une référence directe à l’épisode 40 de la version américaine du dessin animé Pokémon, dans lequel les frères Evoli possèdent chacun une évolution de la petite créature.

Si les développeurs continuent à suivre cette logique d’hommage au dessin animé, alors il sera probablement possible de choisir l’évolution d’Evoli à chaque nouvelle génération de Pokémon intégrée au jeu. Une fois le Pokémon ainsi renommé, redémarrez le jeu pour être sûr que ce changement soit bien enregistré sur les serveurs de Niantic Labs. Il vous suffit à présent d’utiliser 25 bonbons pour faire évoluer Evoli en la créature de votre choix.

Pokémon Go : comment faire évoluer Evoli en Noctali ou Mentali ?

Suite à la mise à jour de février 2017, Evoli bénéficie de deux nouvelles évolutions : Mentali, de type Psy, et Noctali, de type Ténèbres. Ces deux évolutions sont issues des versions Or et Argent de Pokémon, initialement parues sur Gameboy Color en l’an 2000.

Cette fois encore, il est possible d’obtenir ces deux créatures facilement en renommant Evoli avant de le faire évoluer. Pour obtenir un Mentali, renommez-le Sakura. Pour avoir un Noctali, renommez-le tout simplement Tamao. Il s’agit d’une nouvelle référence au dessin animé Pokémon. Sakura et Tamao sont deux des cinq sœurs Kimono, et possèdent chacune une évolution d’Evoli.

Selon les utilisateurs de Reddit, il existe une seconde méthode permettant de choisir l’évolution d’Evoli entre Mentali et Noctali. Cette méthode consiste à marcher 10 kilomètres avec un Evoli, pour ensuite le faire évoluer pendant le jour ou la nuit. S’il évolue la nuit, il se transformera en Noctali. S’il évolue en plein jour, alors il se transformera en Mentali.

Attention : pour que cette méthode fonctionne, vous devez choisir Evoli en tant que Pokémon ” Buddy “ jusqu’à son évolution. Sachant que l’astuce du changement de nom ne fonctionne qu’une seule fois par évolution, cette seconde méthode permet d’avoir un deuxième Mentali et un deuxième Noctali très facilement.

Pokémon Go : comment faire évoluer Evoli en Phyllali ou Givrali ?

Depuis la quatrième génération, Evoli peut aussi évoluer en Phyllali (type plante) et Givrali (type glace). Vous vous demandez peut-être comment obtenir ces évolutions dans Pokémon Go afin de compléter votre Pokédex.

Depuis le mois de mai 2019, il est enfin possible de faire évoluer Evoli en Phyllali et Givrali grâce aux nouveaux Modules Leurres intégrés au jeu par Niantic. Le ” Data Miner ” Chrales avait repéré ces nouveaux objets dans le code du jeu au début du mois de mai 2019, mais leur implémentation est désormais officielle. Après avoir ajouté de nombreux Pokémon de quatrième génération au fil des mois précédents, Niantic permet donc enfin d’obtenir les évolutions d’Evoli de cette génération.

Les nouveaux leurres ne se contentent pas d’attirer les Pokémon, mais de créer temporairement et artificiellement l’environnement qui leur sert d’habitat naturel et s’avère nécessaire à leur évolution. Ainsi, le Leurre Glacial permet de faire évoluer Evoli en Givrali, et le Leurre Moussu permet de le transformer en Phyllali.

Il est également possible d’utiliser le Leurre Magnétique pour faire évoluer Magnéton en Magnézone. Ces leurres peuvent être achetés dans la boutique pour 200 PokéPièces par unité.

Ouah ! On dirait que les Dresseurs ont remarqué une certaine logique :
Module Leurre Moussu + Évoli = Phyllali
Module Leurre Glacial Lure + Évoli = Givrali pic.twitter.com/0fKapMU803

— Pokémon GO France (@PokemonGOfr) May 20, 2019

Pour rappel, dans le jeu d’origine, Evoli n’évolue dans ces formes que lorsqu’il gagne des niveaux à proximité d’une Pierre Glace ou d’une Pierre Mousse. De même, Magnéton et Tarinor n’évoluent dans leurs formes finales respectives, Magnézone et Tarinorme, que lorsqu’ils gagnent des niveaux près d’un champ magnétique…

Selon les retours de certains joueurs, il est aussi possible de faire évoluer Evoli en Givrali ou Phyllali en le renommant comme pour les évolutions de première génération. Ainsi, en appelant Evoli ” Linnea ” avant de  le faire évoluer, il aurait une chance de se transformer en Phyllali. De même, en le renommant ” Rea “, il serait possible de le contraindre à évoluer en Givrali. Cependant, la technique ne fonctionne plus systématiquement…

Comment faire évoluer Evoli en Nymphali ?

Depuis la sixième génération, l’adorable Evoli peut évoluer en Nymphali (type fée). Malheureusement, pour l’heure on ignore toujours comment et quand il sera possible de faire évoluer Evoli en Nymphali.

Cette évolution est la dernière des huit formes d’Evoli, et sera très certainement la prochaine sur la liste ! Cependant, sachant qu’il s’agit d’un Pokémon de sixième génération issue des versions X et Y, il faudra sans doute patienter encore un peu puisque le déploiement de cette génération n’a pas encore commencé.

Lorsque le déploiement des Pokémon de génération 5 sera terminé, Nymphali sera sans doute ajouté très rapidement au jeu. Pour cause la sixième génération n’apporte que 72 nouveaux monstres issus de la région Kalos.

En se basant sur le déploiement des précédentes générations, on peut s’attendre à un lancement pour la rentrée 2020. Les précédentes générations ont été ajoutées entre les mois de septembre et octobre. Le premier Pokémon de cinquième génération a été introduit le 16 septembre 2019, il y a bientôt un an.

Lors de l’ajout de Nymphali, il sera certainement possible de choisir un nom permettant de forcer l’évolution d’Evoli. Pour rappel, dans le jeu original, Evoli doit apprendre au moins une attaque de type Fée et avoir un haut niveau d’amitié avec son dresseur pour se transformer en Nymphali…

Pokémon Go : quelles sont les précautions à prendre avant de faire évoluer Evoli ?

Notez qu’il est préférable d’attendre d’être au moins au niveau 15 avant de procéder à l’évolution d’Evoli. Un Evoli capturé à ce niveau aura beaucoup plus de Points de Combat, et son évolution sera donc également nettement plus puissante.

Vérifiez également que les points de combat du Evoli que vous souhaitez  faire évoluer possède le maximum de points de combat : 969. Pour vous assurer de trouver un Evoli au maximum de son potentiel, vous pouvez chercher un nid d’Evoli près de chez vous. Une fois ce nid trouvé, il vous suffira de vous y rendre régulièrement pour capturer de nombreux spécimens et garder les plus prometteurs.

Précisons également que cette astuce ne fonctionne qu’une seule fois par évolution. Par conséquent, assurez-vous que votre Evoli possède les meilleures caractéristiques avant de le faire évoluer.

Enfin, même si de nombreux utilisateurs ont utilisé cette technique avec succès et même si elle a été officiellement dévoilée par Niantic lors de la San Diego Comic Con, elle ne fonctionne pas systématiquement. Il peut arriver que l’astuce ne marche pas. Certains estiment que cette méthode ne fonctionne que lors de la première évolution d’Evoli.

Toutefois, les échecs sont plus probablement liés à des problèmes de serveurs survenant au même moment. Assurez-vous donc que les serveurs de Niantic fonctionnent avant de procéder. Comme évoqué plus haut, redémarrez le jeu immédiatement après avoir fait évoluer votre Evoli afin de vous assurer que ce changement soit sauvegardé sur les serveurs.

Pokémon Go : pourquoi choisir l’évolution de Evoli ?

Lors du lancement de Pokémon Go, Aquali était l’un des Pokémon les plus populaires auprès des joueurs. Relativement simple à obtenir grâce à la technique évoquée ci-dessus, il comptait également parmi les créatures les plus puissantes. Il était donc judicieux de choisir cette évolution parmi les trois disponibles. Malheureusement, sa puissance a été considérablement réduite depuis lors. Au commencement, son attaque Pistolet à O avait une puissance de 10. Cette puissance a été réduite à 6.

Cette réduction rend Aquali moins dévastateur, même si son endurance élevée lui confère davantage de points de vie que la plupart des Pokémon. Malgré tout, suite à ce changement, Aquali est devenu moins omniprésent au sein des arènes Pokémon. En revanche, les évolutions de seconde génération Mentali et Noctali introduites en février 2017 sont toutes deux très puissantes.

Désormais, choisir l’évolution d’Evoli permet principalement d’éviter de gâcher des bonbons en se retrouvant plusieurs fois avec la même évolution. En utilisant la technique, vous pourrez donc compléter plus rapidement votre Pokédex et vous assurer d’obtenir les cinq  évolutions directement. Il s’agit du moyen le plus simple d’obtenir toutes les évolutions de la petite créature, indispensables pour remplir le Pokédex à 100%…

Pokémon Go : comment obtenir Evoli couronné de fleurs ?

Dans le cadre du Pokémon Day 2019, il était possible d’obtenir une version spéciale d’Evoli orné d’une couronne de fleurs. Du 1er septembre au 1er novembre 2019, cette édition limitée était décernée en récompense de la Mission d’étude spéciale.

Pour l’obtenir, il était nécessaire de compléter une tâche d’étude par jour pendant sept jours consécutifs. Les joueurs les plus chanceux ont même pu obtenir un Evoli couronné de fleurs Shiny, n’apparaissant qu’1 fois sur 450.

En faisant évoluer cette version d’Evoli, sa forme évoluée sera elle aussi couronnée de fleurs. Il est donc possible d’acquérir toutes les évolutions d’Evoli avec cette ravissante coiffure. Leurs caractéristiques sont identiques à celles des versions classiques, mais cette couronne leur confère une touche esthétique supplémentaire.

Désormais, la seule façon d’obtenir Evoli couronné de fleurs et ses évolutions est de procéder à un échange. Il s’agit d’un Pokémon extrêmement rare, mais on peut espérer qu’il soit à nouveau proposé en récompense lors d’un futur événement.

Pokémon Go méta : quelle est l’évolution d’Evoli la plus puissante ?

Vous savez à présent comment obtenir les différentes évolutions d’Evoli. Cependant, vous vous demandez peut-être laquelle est la plus puissante, laquelle privilégier si votre objectif est de triompher en raid et en PVP.

Depuis les débuts de Pokémon Go, Aquali est une créature très puissante. Il s’agit du meilleur Pokémon d’eau après Kyogre et Léviator.

De son côté, Phyllali est un très bon attaquant compte tenu du déficit de Pokémon de type Plante réellement offensifs. Toutefois, Bouldeneu reste plus puissant.

Si vous avez besoin de Pokémon de type Electrique, Voltali constitue une bonne alternative à Electhor et Raikou. De même, Pyroli compense un manque de Sulfura et Entei dans votre armée.

En revanche, Mentali n’est pas très utile en combat compte tenu des nombreux Pokémon de type Psy infligeant de lourds dégâts. Givrali quant à lui est largement moins fort que Mammochon en tant que Pokémon de type Glace.

Pour terminer, en tant que Pokémon de type Ténébres, Noctali est presque inutile comparé à Tyranocif. Il reste toutefois plus agressif que Démolosse sur la plupart des combats.

Cet article Pokémon Go – Comment choisir l’évolution de Evoli a été publié sur Réalité-Virtuelle.com.

Pandemic reinforces value of partnerships

Aldermaston, UK, 29 July 2020: Having completed a number of projects in recent months despite the constraints of the global pandemic, SI Media and GB Labs reflect on the underrated value provided by global and regional partnerships. Based just north of Venice, Italy, SI Media is an international broadcast software solution provider – including its proprietary ...

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

Xite Labs

Par : Marco Savo

Xite Labs is an audiovisual creative studio working at the intersection of art and technology, digital media and interaction design.

The team is formed by top-notch audiovisual artists who have left an unparalleled mark in the world of electronic music.

They have delivered off-socks-knocking 3D mapping installations since 2000, working with internationally renowned musicians such as Tame Impala, Infected Mushroom, Steve Aoki, Skrillex and Amon Tobin to name a few.

Audiovisual artist - projection mapping

We have been lucky enough to attend their mind-blowing audiovisual experience developed with Amon Tobin, for his international tour following the release of the album ISAM. That was back in 2012 at Sonar Festival in Barcelona.

Tobin’s avant-garde IDM soundscapes lead the way for the audiovisual storytelling who took the audience on a unforgettable journey. The show started with an otherworldly cube-shaped structure coming to life.

The stage then turned into a ship launched into space with Tobin residing in a hyper-sleep pod. After dream-like hallucinations Tobin comes out actually wearing the suits shown in the animation.

A complex audiovisual narrative that blurs the boundaries between real and digital world, firing all sorts of trickery to cleanse out the audience of all their spatial references. Only when we lose all the anchor points we are truly primed to experience the digital voyage.

ISAM takes us on a journey through the unexplored universe generated by the EDM soundscape of Amon Tobin to the bring us back to the core of the action: the musician and his performance.

In my opinion, Xite Labs major breakthrough is their ability to truly animate their installation, snapping out of the static AV sculpture by delivering an immersive experience where all senses are captured within the space.

Their audiovisual world is disorienting and astonishing as it builds up in front of our eyes, departing far away from the bidimensionality of the screen experience.

Audiovisual artists

Formed in the year 2000 as V Squared Labs by Vello E Virkhaus they have then merged with Tandem Digital Entertainment in 2018 to form XiteLabs.

Through the leadership of Greg Russell and Vello Virkhaus the audiovisual studio continuously executes next level experiential visual artistry.

The duo is always taking “never been done” concepts and turning them into reality. This process always starts with the blank page, and working with clients to define the words, scenery, illumination, content, interactivity, and the means to deliver it all.

Contact

Website

Facebook | Vimeo | Instagram

The post Xite Labs appeared first on Audiovisualcity.

[Sinusoidal Noise] – A study of movement in sinusoidal chaos

Par : KaiLab
[Sinusoidal Noise] – A study of movement in sinusoidal chaos

Sinusoidal Noise is a modular light installation that uses random oscillating patterns to create a larger sense of movement. The work comprises 98 pixels each of which fades on and off at a unique frequency. These slow, detuned oscillations create the illusion of shapes emerging, where light appears to pass between pixels as they move […]

The post [Sinusoidal Noise] - A study of movement in sinusoidal chaos first appeared on CreativeApplications.Net.

GB Labs further strengthens CORE.4 and CORE.4 Lite security

Aldermaston, UK, 14 July 2020: The leader in intelligent storage solutions, GB Labs has announced that its proprietary CORE.4 and CORE.4 Lite operating systems have been upgraded with additional security benefits designed to augment existing performance, analytic, and real-time data monitoring and display features. GB Labs’ Chief Product Officer, Howard Twine said, “We have been ...

The post GB Labs further strengthens CORE.4 and CORE.4 Lite security appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

DejaSoft releases DejaEdit 3.1

Par : RadianceC

  DejaSoft supports in-house hosted S3 server in DejaEdit 3.1 For Immediate Release, 2 July 2020, Gothenburg, Sweden – Hot on the heels of the launch of DejaEdit 3, and in direct response to client requests, DejaSoft announces the release of version 3.1 to support private cloud environments using the open source MinIO object storage ...

The post DejaSoft releases DejaEdit 3.1 appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Silk Pavilion II – Mediated Matter Group at the MoMA

Silk Pavilion II –  Mediated Matter Group at the MoMA

Latest in the series of groundbreaking projects by Mediated Matter Group (MIT Media Lab) is the new successor to the Silk Pavilion (2013) project, results currently on show (subject to COVID-19 restrictions) at the Museum of Modern Art in New York. The project utilizes an integrated kinetic mandrel designed to guide the natural spinning motion […]

The post Silk Pavilion II – Mediated Matter Group at the MoMA first appeared on CreativeApplications.Net.

360 GALLERY ARTIST IN RESIDENCE 2020 – Krakow

Par : Marco Savo



DEADLINE: 15/07/2020


We love to discover and share juicy opportunities for audiovisual artists such as this open call promoted by Photon Foundation in Krakow.

Their hybrid solution is an effective response to the uncertainty of our current situation and a great compromise. We are sure audiovisual artists worldwide will massively appreciate their effort!

Photon Foundation is pulling off a great home edition this year. The organizers of Patchlab Festival are giving the chance to three selected artists to create a 360 second long rendered audiovisual projects, specifically designed for the projection system at the Gallery 360°.

The audiovisual installation will be recorded and publicly presented online as the culmination of the residence. Later on, when audiovisual events will kick back on the projects will be actually presented in the 360° Gallery with participation of the audience.

Open call for audiovisual artists

The 360° Gallery features a mind-boggling set up with 10 projectors displaying images with 16910×1080 pixels resolution. That opens up immense creative opportunities to generate a fully immersive environment.

During the 31-day #home edition residence, between 15/09/2020 – 18/10/2020, the selected audiovisual artists (or artistic groups) are going to work in their home or studio on their own audiovisual project.

The selected artists will have remote contact with the organizational and technical team and co-residents, as well as the possibility of conducting 2 remote attempts to display the work on the projection system in the 360° Gallery in order to check the accuracy and allow for possible corrections.

The following criteria will be taken into account in the selection of the winning projects:

  • artistic values ​​of the concept (e.g. originality, ingenuity)
  • consistency and accuracy in preparing the project concept
  • project feasibility according to the technical specification of the 360​​° Gallery projection system
  • artistic portfolio

APPLY HERE

The post 360 GALLERY ARTIST IN RESIDENCE 2020 – Krakow appeared first on Audiovisualcity.

LOST HORIZON FESTIVAL – GAS TOWER: 3 – 4th July, Online



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


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

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

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

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

Audiovisual artists



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

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

Simon Vaughan, Creative Giants

A virtual audiovisual event



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

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

Pete Thornton, More Eyes

Rebel Overlay

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

WeAreMidnight

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

Enjoy the Kaos

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

blinkinLAB

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

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

Contact

Website

Youtube

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

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.

About Kusmos Live by Kuflex Lab

Par : Marco Savo

During these tough and uncertain times it has been inspiring to see so many audiovisual artists and events coming up with tools and formats to overcome the quarantine restrictions and social distancing.

A few weeks back the guys from Kuflex Lab reached out to showcase their latest tool that stands out among all the virtual/hybrid solutions we have seen so far. Kusmos Live allows to turn online concerts into interactive digital shows. Pretty neat uh?

Kusmos - Kuflex Lab - Audiovisual Interactive Tool

Let’s dive in and explore how it works. Down to the nitty-nerdy-gritty Kusmos is a custom VJ software written on openFrameworks + VDMX5 + Syphon.

In spring 2020 Kuflex studio began an experimental project Kusmos Live. The purpose of the experiment was to upgrade the Kusmos system in order to create a interactive online home shows.

In 2018-2019 the Russian audiovisual studio experimented with the innovative tool together with SILA SVETA studio on the Therr Maitz concert, Caprices Festival 2018, Nina Kraviz experimental performance at Coachella 2019.

OK, really cool but how exactly does interactivity work? We gave some feedback to Kuflex lab with a few tricky questions to better understand the whole potential of this new audiovisual tool.

KUFLEX: The Tracker program receives depth-sensor data, calibrates a point cloud as we need it (we can rotate the cloud, cut off everything you don’t need keeping only the data of the artist oneself and merge point clouds from two sensors) and sends it to the renderer (UE4 scene).

Scene functions build a 3D model using the data provided by the Tracker and then we can layer all kinds of features with effects on the model and also transform and distort it according to the artistic concept. We also captured video from the laptop’s webcam and sometimes showed its picture. 3D scene acting as the artist surrounding, a set of virtual cameras for capturing from different viewpoints and visual effects were set up in advance in the Unreal Engine. Then the OBS program captures the video of the launched scene and sends it to the video streaming server.

Kusmos Live - audiovisual tool

During our second live experiment we tested some new features for the viewers interactive communication with the stream. While Leksha (Smolensk, Russia) was playing his ambient-set, a VJ (Moscow, Russia) was controlling visual effects with the use of commands via YouTube chat in real-time mode. Our team has implemented this function between the concerts and decided not to tell the viewers about it.

During the stream, noticing weird messages in the chat, some of the viewers started to realize that they could not only send a message to the chat but to even affect visualization. In the end the concert has turned into a digital quest. Some viewers picked up effect control by sending particular commands to the chat. We have yet to comprehend how to develop this function in the future.

 AVC: We think it’s a really interesting and innovative project responding to the challenges of the pandemic. In terms of appeal for VJs there is the risk of potentially being extremely limited for the audiovisual artists creativity, and the aesthetic I guess would always be the same.

It would be key for the tool to have a wider range of possibilities of customization for the artists otherwise they might get tired soon. I guess they all want to leave their unique mark in the scene.

KUFLEX: Kusmos is a universal software tool, with the possibility of variability of visual and interactive solutions. As a rule, our team creates a virtual stage specifically for the performance of the musician. Of course, we want to upgrade the program creating a database with different scenes, effects. In this case, the user will be able to construct the scene himself and combine the effects for his live/stream. 

AVC: It’s a bit unusual to keep promoting the idea of “God is DJ”. Is the DJ persona so relevant the viewer wants to watch during the entire show in a virtual environment?

KUFLEX: Regarding Kusmos Live project, the Kuflex team is collaborating with various musicians. We wanted to support the performers. So this approach determined the emphasis on the figure of the musician on the virtual stage, under whose musical personality, sound we come up with a visual solution. We do not just shoot a video with a musician, as is often done in broadcasts, but create a digital avatar that changes depending on the script, music and VJ control.

At the same time, Kusmos Live is primarily a show, a kind of mix of live performance, a computer game and fantastic movie. The virtual camera can fly through digital space, we can switch to different visual elements of the scene and include additional visual effects to the music.

Kusmos Live - Audiovisual Tool

We try to achieve the effect of real interaction with the viewer as well. Our team is developing a function of interaction through chat – viewers’ comments fall into the scene, they can affect the content through certain chat commands. But Kusmos can be used by artists of other genres. In the near future we want to try to create a dance performance. Now we are discussing this idea with one Russian choreographer.

We will explore the topic of distances – where physical space ends, digital begins, the relationship of body and sound. Both dance and music will take place in live format.

Technically, the performer will find himself in different areas of camera scanning, on the screen we will observe how his digital avatar changes. Again, it will all be like shooting a movie in one shot and in real time!

360 Visual Festival - audiovisual event
AVC: We truly appreciate the viewers becoming active, participating and communicating with the stream. That creates a collective experience. Could people really tell if this was a live performance or not? It feels like the interaction should be more meaningful somehow, with a bigger impact to the overall audiovisual artwork.

KUFLEX: Our team worked on a concert from different cities. We thought about how best to organise remote control of virtual cameras and effects. And suddenly our creative director had an idea to manage content through Youtube chat. During the broadcast, he wrote commands like cam1 (switching camera 1), stars ( the star effect was launched).

We intentionally did not talk about this function in advance to get the quest. As a result, some viewers guessed and began to help in managing the scene. We explore different possibilities about other ways of interaction.

In the future we want to create a client application for connecting to the broadcast via a mobile phone, desktop PC screen or VR. We intend to develop Kusmos as an art tool. Our team believes in a power of collective interaction. We want to give a palette of visual solutions, effects. Let’s all together create beauty here and now! This idea is a sincere inspiration for us. 

AVC:  We would like to know more about how the collaboration you have done with Leksha where the viewers were controlling visual effects with the use of commands via YouTube chat in real-time mode.” How does the input of data modify the visuals? is it like a live coding or common human language and how it is related to the VR software?

kusmos live - kuflex and leksha - audiovisual artists

KUFLEX: Usually in an offline format, we work like this: musicians play music, and VJ manages visual content live using MIDI controllers. Some effects are linked to the amplitude of the sound. But in a situation where we did not have the opportunity to be onsite will all team, we decided to make control through chat commands.

We wrote a special function for our software that receives data from chat on YouTube using the Google API. We came up with several commands, for example: cam1, cam2, skin1, skin2, electric noise, lasers and the like. And when someone in the chat wrote one of these words, then a certain visual effect or a corresponding camera was included in our program.

In general, we have an idea to expand the number of commands and their appearance, so that it looks more like live coding. For example, add numerical arguments to the commands, which will additionally specify the parameters of a particular visual effect.

As for virtual reality, we have plans to create our own application for viewers who can watch live broadcasts using VR devices, thus more deeply immersing themselves in the atmosphere of the digital scene and additionally receive personal effects. 

Kusmos Live - audiovisual tool
 AVC: Fascinating this idea of “universal tool” for content in real time and interactive show. We think it’s important now to dig more into the idea of how it can involve more people in the creative process. It opens new ways of investigation on how to make every audiovisual experience unique, not only in terms of the aesthetics of the piece but also regarding the narrative.

KUFLEX: Yes, this is the main object of research for us. Usually, a limited number of people can come to the offline exhibition. So we want to overcome any space frames. With Kusmos we don’t have any restrictions online! We can find ourselves in amazing digital worlds that are impossible in the physical world.

Now that Kuflex Lab and its creation Kusmos entered our radar we will most definitely keep following their progression, as always supporting innovation and creativity in the audiovisual art world.

The post About Kusmos Live by Kuflex Lab appeared first on Audiovisualcity.

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.

DejaSoft launches DejaEdit Version 3 –

Par : RadianceC

DejaEdit Version 3 takes file synchronizing to a new level with enhanced user experience, additional security features and improved workflow management For Immediate Release, 28 May 2020, Gothenburg, Sweden – Dynamic tech start-up DejaSoft has launched Version 3 of its cutting-edge media file synchronising software tool –  DejaEdit. An essential application vital for film productions, DejaEdit ...

The post DejaSoft launches DejaEdit Version 3 – appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Polygon Labs Unveils Ipsum 2.0 Integrated with Epic Games’ Unreal Engine 4 and Pixel Streaming

Par : Jump

New York, USA – 26th May 2020 – Polygon Labs, an innovative studio pushing the boundaries of interactive data applications and visual branding, has today announced the latest version of its data aggregation and visualization platform for broadcast news, sports, weather and branding, Ipsum 2.0. This significant update includes integration with Epic Games’ powerful real-time ...

The post Polygon Labs Unveils Ipsum 2.0 Integrated with Epic Games’ Unreal Engine 4 and Pixel Streaming appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

L.E.V. Festival

Par : Marco Savo
LEV-festival-Audiovisual-Events

Gijon, September 10 –  13 2020

L.E.V. (Laboratorio de Electrónica Visual) is a platform specialized in the production and promotion of electronic sound creations, and its relationship with visual arts. It was a European pioneer in this field, and since more than 13 years ago, it tries to converge the natural synergy between image and sound, and the new artistic trends, making special emphasis on live actions.

LEV develops the L.E.V. Festival (in Gijón) and specific, de-localized shows called LEVents. Through both proceedings, the platform reaches its goal: to provide an eclectic, panoramic vision of the current state of creation and all its connections, in an ever-evolving environment.

That is why LEV focuses its work both on international artists that are leaders in audiovisual creativity and local artists, both pioneers and new talents.

L.E.V. is a co-production between the Principado de Asturias Government, the Gijón City Council and LABoral Art and Industrial Creation Centre and it was designed and conceived by the Asturian collective Datatrón. The festival honors by its acronym to Lev Thermen (Russian scientist father of the present-day synthesizers).

Laboral, Camino de los Prados 121,

Gijon, Spain

Contact

Website

Facebook | Twitter | Vimeo | Instagram

The post L.E.V. Festival appeared first on Audiovisualcity.

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⁣[VIDEOMAPPING] PRIVACIDAD (México 2017) Timelapse de la obra de teatro completa con @diegoluna_⁣
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⁣》》•SUSCRIBETE EN YOUTUBE PARA VER ESTE Y MAS VIDEOS COMPLETOS• •LINK EN BIO•《《⁣
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⁣#GM #gm_videolab #privacidad #privacy #teatro #theatre #theatreworks #theatrelife #theatrephotography #interactivetheatre #videoprojection #projectionmapping #millumin #videomapping #video #timelapse #visualartist #gopro #goprohero4 #goprotimelapse #gopromx #mexico #cdmx (at Teatro de los Insurgentes)
https://www.instagram.com/p/B_FqMTuJHkX/?igshid=1tdgjpo9q0kx4

Meet Endlesss, the iOS app for collaborative music making

Endlesss Tim Exile app

Tim Exile, longtime producer, performer, synth designer, and all-around musical aficionado, has finally released his much-awaited Endlesss app. And honestly, he couldn’t have timed it any better (though we’re sure he’s probably thinking the same thing). Endlesss is a new program that allows you to make music in real time with friends around the globe, […]

The post Meet Endlesss, the iOS app for collaborative music making appeared first on DJ TechTools.

IPV’s CuratorNow powers remote video production for Trailer Park Group

New media asset management software enables Hollywood’s leading movie trailer producers to securely collaborate and create without constraint from home CAMBRIDGE, UK, 1 April 2020: Trailer Park Group, the award-winning global entertainment marketing company, which counts many of the world’s most prestigious and successful companies, brands, media properties and film franchises among its clients, is ...

The post IPV’s CuratorNow powers remote video production for Trailer Park Group appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

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⁣Y’a des formations comme ça… #logicielregievideo #millumin2 #millumin #qlab #maitrise #perfectionnement #ocs #midi #hap #vp #mediaserver #reseau #imagination #mapping #projectionmapping #lepied #espacevirtuel #media #artnumerique #pixels #creation #regisseurvideo (at CFPTS)
https://www.instagram.com/p/B-MHrvwJsAA/?igshid=gr5tkudoxsap

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