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⁣ ⁣⁣ ⁣#repost @joan_____giner⁣ ⁣__________________⁣ ⁣⁣ ⁣Abstract...




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⁣#repost @joan_____giner⁣
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⁣Abstract waves 01 #videomapping #sculpture #digitalart #lightdesign #contemporaryart #interiordesign #visualart #kineticart #multimediaart #art #lightart #digitalinstallation #videoprojection #experiment #waves #millumin2 #aftereffects #motiongraphics #insitu #installation #abstractart #geometricart #triangles #stripes #hypnotizing #artwork #fold #geometric
https://www.instagram.com/p/CB7cIL6pIqh/?igshid=56c4aynq7hil

⁣ ⁣⁣ ⁣#repost @ex_lumina⁣ ⁣__________________⁣ ⁣⁣ ⁣It’s alive...




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⁣#repost @ex_lumina⁣
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⁣It’s alive again! 😍🥳 The #interactive #laser defence turret #game powered by #millumin, #arduino, #leapmotion, built of a recycled scan #light inspired by #portal game 👍👊⁣⁣
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⁣⁣#interactiveart #arduinoproject #circasismic #besancon #cyberpunk #recycledart #servo #diy #projectionart #sensoryplay #artinstallation #creativity #automation #robot #robotics #makers
https://www.instagram.com/p/CB7b4i4JJaS/?igshid=wnkfcnihgsaw

Free Design Elements for Motion Graphics Artists

Heads up, motion designers: Here’s a handy, up-to-date roundup of some of our very favorite motion graphics freebies. Look, everyone loves free content and assets. How could ...

Dear Adobe, Please Change the App Icons Back to Their Individual Colors

Meet Adobe’s latest update — the most baffling design choice in recent memory. Let’s take a look at why it’s the complete opposite of optimal. If you ...

Movinmotion et Katoonk annoncent leur union

Par : Shadows

Movinmotion, plateforme de gestion sociale et administrative des intermittents du spectacle (mais aussi filiale d’Audiens) en place depuis 2012, et Katoonk, site web de recherche d’emploi destiné au secteur de l’animation créé en 2009, annoncent leur rapprochement.

Cette démarche est présentée comme une conséquence de la croissance de Katoonk, service fondé par Catherine Regnier et la gestion devenait de plus en plus difficile par une personne seule. L’annonce indique aussi que si des studios et entités de l’animation avaient fait des propositions, rejoindre Movinmotion est un moyen pour la plateforme de conserver une approche neutre.

Conséquence de ce rapprochement, Katoonk devient Movinmotion Talents. La plateforme d’emploi devrait s’étoffer de quelques nouvelles fonctions, comme le calcul des droits pour les intermittents, le classement des documents administratifs et l’arrivée de la signature électronique pour accepter les contrats en ligne.
Si vous aviez un compte Katoonk, un e-mail devrait rapidement vous proposer une inscription sur la nouvelle plateforme.

L’article Movinmotion et Katoonk annoncent leur union est apparu en premier sur 3DVF.

⁣ ⁣⁣ ⁣#repost @mpstudio3d⁣ ⁣__________________⁣ ⁣⁣ ⁣Just teasing...




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⁣Just teasing you with a short #flashback of some of our shows from Festival of Lights Berlin 2019⁣
⁣#mpstudio #3dmapping #projectionmapping #videomapping #art #3dart #lightfestival #festivaloflights #cinema4d #c4d #octane #ae #adobe #aftereffects #motiondesign #event #best #digitalart #instaart #mappingprojection #3drender #millumin #watchout #catlover #artoftheday #festival #contemporaryart (at Berlin, Germany)
https://www.instagram.com/p/CA-CqahgTNp/?igshid=1obkbxg21dgpw

Top 10 Paid and Free Scripts and Plugins for After Effects

Utilizing the functionality of After Effects scripts and plugins is one of the best ways to improve your motion graphics skills. Here are our top ten.

Short Film, Big Ideas: Combining 2D and 3D to Visualize a Complex Issue

For his latest film, "Disorder," Director Robert Grieves utilized a multi-media approach to tell a multi-dimensional story. Here’s how he did it.

AVCity interviews Weirdcore

Par : Marco Savo

1.YOU HAVE A VERY VARIED, YET DISTINCTIVE AESTHETIC THAT CAN BE EASILY RECOGNIZED, BUT AT THE SAME TIME, A LITTLE DIFFICULT TO CLASSIFY! WHAT WERE YOUR EARLY GRAPHIC INFLUENCES/INSPIRATIONS AND WHAT ELEMENTS OR EXPERIENCES HAVE BEEN KEY TO THE DEVELOPMENT OF YOUR STYLE?

 

Hi guys! Thank you for your questions and your interest in my work. Let’s get started! Here my main influences:

In the 80s: whilst growing up in France, I was very inspired by the vast amount of Japanese anime on TV, especially the Cobra series (funny that it was just on kids TV back then in France, where it would be rated 12 or 15 here in UK now) and films like Videodrome, Nightmare on Elm Street, Evil Dead 2, 2001, The Thing, Altered States, Blazing Saddles, Monty Python films and such like.

Weirdcore_Audiovisual_Artist_Interview1

In the later 80’s & 90’s whilst living in different parts of the UK during my student years, I was really into rave graphics and visuals like
Stakker Humanoid and FSOL.

I was massively into MTV’s Aeon Flux series and non verbal films like Baraka, Koyananskatsti, Atlantis and such like. The Day Today  / Brass eye have been quite important as well in terms of absurdity and “OTT-ness”, especially the Brass eye Infographics. Then in late 90’s & early 00s once I moved to London I was massively into Ryoji Ikeda / Dumb Type / Semi-conductor Films / Ukawa.

In terms of key experiences, I’d say it was seeing Daft Punk live multiple times in the mid 90’s & their Audiovisual show in the 1997 tour. That was definitely the main experiences that pushed me to do what I do in the audiovisual world.

It was like a “smack in the face”. So bold, minimal and sync-ed to the music, it totally blew me away. I remember thinking back then, I wanted to blow people away in the same way someday.

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2. IN YOUR WORK WE CAN SEE A BIG VARIETY OF IMAGE PROCESSING RESULTS, DOES THIS EXPERIMENTATION GO HAND IN HAND WITH AN EXPERIMENTATION OF THE TOOLS YOU USE TO CREATE THE VISUALS AS WELL?

 

Good question, that I’m not sure how to answer as I don’t really think about it in that way. I’d say I very much differentiate my live & studio work. To me, my live visuals are technically made in similar ways to how my friends make music.

I position myself in the same category as lighting/laser designers, in a sense that I’m there merely complementing/enhancing the audio experience. As in my studio work I very much try to recreate the kinda vibe of an anime intro or 80s music video, which in my opinion were far more entertaining. For me, it’s all about visual impact and entertaining the audience.

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3. HOW WOULD YOU DEFINE “AUDIOVISUAL ART” AND HOW DO YOU POSITION YOURSELF IN THIS SPECIFIC CULTURE?

 

This is a tricky question for me, as I find it hard to categorize anything I see on my computer screen or at a party as art. For me it’s more like graphics or entertainment. Call me old fashioned but for it to be Art is has to be in an art context (whatever that is), and as my work isn’t in galleries or such like (yet) i don’t really consider myself as an artist.

Actually I find the words art/artists are used way too sparingly in this day and age, so I’m not really sure as to where I fit in all this. I’d rather not think about it and just carry on doing my thing & let other people define me as they see fit…

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4. YOUR CAREER DEVELOPED ACROSS DIFFERENT FIELDS AND MEDIA SUCH AS ADVERTISING, FASHION, ELECTRONIC MUSIC, VIDEO CLIPS, AND SO ON. CAN YOU TELL US ABOUT THE CONCEPTUAL AND AESTHETIC LINKS CONNECTING ALL YOUR VERY DIVERSE PROJECTS??

 

I’m very much into specific/custom made/location-based designs. My ideas tend to be finding a way to best fit the “where” and “what”. My concepts are very driven by discussions (or lack of) with the artist/clients, which is why my work tends to vary in style (or quality, if the client/artist has too little input or dictates too much)

5. YOU HAVE WORKED WITH MANY DIFFERENT MUSICIANS AND SINGERS THROUGHOUT THE YEARS. COULD YOU DESCRIBE YOUR CREATIVE PROCESS OF VISUALIZING A SOUNDSCAPE AND THE DIFFERENCE BETWEEN WORKING WITH ABSTRACT CONTENTS LIKE ELECTRONIC MUSIC AND THE MORE EXPLICIT NARRATIVE OF POP AND HIP HOP CULTURE?

 

Firstly I figure the possibilities and limitations and work within those boundaries, then I discuss with artist/client to figure a rough direction to aim for, it then it generally snowballs from there.

I generally try to deliver what the artist/client & target audience wants, but not necessarily what they expect, so I tend to avoid the obvious options.

I don’t think I approach a project that differently depending on what genre of music it is. I just try and do whatever feels right for that category of music, BUT the workflow is vastly different depending of the type of artists they are.

Some artist are way more approachable than others regardless their music genres and when I can bounce ideas back and forth with them that is when I can go deep into what they truly want and get the best results. I can’t say the same when there’s a sea of management/label/producers between me and the artist.

It’s fair to the results are far more fruitful when I work with artists who don’t take themselves too seriously as I’m not a yes-man nor my specialty is making people like prim & proper.

READ MORE ABOUT THE AUDIOVISUAL ARTIST

The post AVCity interviews Weirdcore appeared first on Audiovisualcity.

Hardware Accelerated Encoding Coming to Premiere and After Effects

GPU hardware acceleration within Adobe Premiere Pro, Media Encoder, and After Effects could be right around the corner for PCs.

Best FREE Animation Software — Ready to Download Right Now

Let's take a look at the best FREE animation software that you can download and start using today, with over ten software options listed here.

Take a Look at gridRig, a Plugin from Ordinary Folk

Let's examine the advantages of gridRig, a plugin from Ordinary Folk. It's an impressive tool for complex animations, allowing for some serious time-saving.

Next live stream on Tuesday.⁣⁣⁣ ⁣We will show some simple...



Next live stream on Tuesday.⁣⁣⁣
⁣We will show some simple methods for tracking.⁣
⁣Of course, we will chat and answer your questions.⁣
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⁣⁣⁣Be sure to subscribe on Youtube : http://millum.in/youtube ⁣⁣⁣
⁣⁣⁣Of course, we will chat and answer your questions.⁣⁣⁣
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⁣⁣⁣📅 Facebook event : https://www.facebook.com/events/224247405543522/ ⁣⁣
⁣⁣⁣🇬🇧 In English with a beautiful French accent⁣⁣⁣
⁣⁣⁣📘 Previous streams on http://millum.in/live ⁣⁣⁣
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⁣⁣⁣⁣⁣⁣#millumin #live #training #streaming #tracking #kinect #blob #motion #camera #youtube⁣⁣⁣

https://www.instagram.com/p/B_-uD-LJHhv/?igshid=1f5ub325z4772

Stéphane Laplatte, infographiste et directeur de création

Par : Shadows

Découvrez la dernière bande démo ainsi que le portfolio de Stéphane Laplatte, infographiste indépendant. Spécialiste du motion design 3D depuis plus de 12 ans, il est également intervenant au sein de plusieurs écoles parisiennes. Enfin, il a également été directeur de création durant cette dernière année.

Il est actuellement disponible pour collaborations et projets.

L’article Stéphane Laplatte, infographiste et directeur de création est apparu en premier sur 3DVF.

Weirdcore

Par : Marco Savo

London based WEIRDCORE is half English, half French and results in a director and collaborator who is one hundred percent out there.

Weirdcore’s work is the result of years of experimental design and animation work that pushes the boundaries of consciousness and visual interpretation.

Adopting a method used more often by artists and music producers rather than by visual directors, Weirdcore helps both advise and visualise others initial ideas, facilitating their progress through until the finished form, whilst also creating his own stunning individual projects.

With a unique blend of formats, colors, designs and mediums, the audiovisual artist has collaborated with some of the most exciting modern artists and directors such as Aphex Twin, M.I.A, Tame Impala, Radiohead, Nabil, Hype Williams, Charlie XCX, Smerz, Onetrix Point Never, Sophie Muller, Diane Martel and Miley Cyrus.

Weirdcore performed live in the most important festivals worldwide such as Glastonbury, Sonar, Fuji Rock, Coachella, Club2Club, Future Music, Field Day, Mira, Unsound, Melt, Lowland, Dour and more.

Weirdcore has also lent his emotive expertise to larger collectives, organisations and labels such as Warp, XL, Sony, Ninja Tunes and Domino, whilst keeping a dynamic and fluid focus across a range of other diverse industry’s such as Fashion, Theatre and Opera.

Contact

Website

Vimeo | Instagram

The post Weirdcore appeared first on Audiovisualcity.

Mo-Sys Launch LiveLab With Panasonic

London, UK, 4 May 2020: Mo-Sys Engineering, a global leader in real time camera tracking and remote systems, is proud to announce a collaboration with Panasonic. The AW-UE150 and the Mo-Sys StarTracker module will empower AR and virtual studio graphics by together creating engaging content with natural depth and changing the perspective of the virtual ...

The post Mo-Sys Launch LiveLab With Panasonic appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Gridspace

GRIDSPACE is a multimedia entertainment studio specializing in the conception and production of creative environments.

From state-of-the-art temporary installations to permanent locations, physical and digital worlds collide through our signature scenography, motion graphics, set design, and technological innovation.

One of their main projects is Wavv – mood modulator:

Wavv is an integrated multimedia proprietary eco-system that uses light, video and sounds, that transforms space perception and enhances emotions. It can be integrated into various contexts and settings, from gym and yoga classes to public transit areas and corporations.

Their various backgrounds mean they’re not only experienced but inspired to explore original ways of implementing storytelling with technology to bring locations to life.

Contact

Website

Facebook | Instagram | Vimeo

The post Gridspace appeared first on Audiovisualcity.

9 FREE After Effects Templates

These free After Effects templates include over 100 free elements and options for you to use in any project. Combine these projects for even more options!

6 Slow Motion Cameras You Can Afford

Bring your slow motion game up to speed with this roundup of high frame rate cameras that won’t deplete your life savings.

Genius Loci Weimar Open Call 2020

Par : Marco Savo

DEADLINE: 17 MAY 2020

EVENT: 04 – 06 SEPTEMBER 2020

Genius Loci Weimar is an annual festival for site-specific audiovisual art, especially façade, space and object projections.

The festival combines the historical spirit of Weimar and the contemporary technique of video mapping, a projection technique that incorporates the object into the image design, giving objects multi-layered dimensions and audiovisual narratives.

Applicants have until the 17th of May to apply with a 30 sec video clip for the projection of one of the following locations: Marstall , Goethe- und Schiller-Archiv and Altenburg.

The three winning artists will be awarded prize money totaling € 45,000 for the realisation of a 05–10 min high-resolution audio-visual production, to be presented during the festival as a video mapping on the respective facade.

READ MORE AND APPLY

The post Genius Loci Weimar Open Call 2020 appeared first on Audiovisualcity.

Pfadfinderei

Par : Marco Savo

Pfadfinderei [fɑ:d’fɪndɜ:raɪ] is a Berlin-based design and motion graphics studio specializing in creative services for stage entertainment, large-format media installations, tradeshows and events. 

Going beyond screen work, they apply innovative ideas to fusing light, video and spatial design. Pfadfinderei also sport a hot roster of patented fonts and design publications.

Founded in 1998 in Berlin, Pfadfinderei started as a design studio focused on print, fonts and logos designs. The name translates as ‘pathfinders’ or ‘boy scouts’ in German and refers to the studio’s initial work with vector graphics. To this day, vectors and a reductionist approach to creativity are their hallmark and signature style. 

Pfadfinderei aim to produce timeless original design ideas and apply their creative hearts and minds to any and all of their work. Always.

In 2000 the studio added motion content and installations to its repertoire and soon found itself at the heart of the vibrant Berlin electronic music and nightlife scene. Through countless collaborations with leading Berlin clubs and talent, the Pfadfinderei crew became an integral part of the mix.

From sharing stages worldwide with the top tier of electronic musicians to crafting bespoke spatial concepts for an eclectic variety of clients, Pfadfinderei are innovators of interactive media scenography and a Berlin success story.

Contact

Website

Facebook | Instagram | Twitter | Vimeo

The post Pfadfinderei appeared first on Audiovisualcity.

Une nouvelle librairie de motion capture pour vos projets

Par : Shadows

Centroid, studio de motion et performance capture et production virtuelle, annonce le lancement d’une librairie en ligne de données de motion capture. Situé dans les célèbres studios de cinéma de Pinewood, Centroid a en pratique mis en place un site dédié qui compte déjà près de 400 éléments.

Au menu, pour le moment : humains en déplacement, actions pour vos foules (personnages assis ou debout qui observent, parlent, mangent, bougent légèrement, lisent, boivent, téléphonent…), cheval, mais aussi des collections thématiques telles que “zombies” et “pirates” (avec des personnages qui escaladent, chargent des canons, tirent, se battent au sabre, etc).

La collection a pour elle deux avantages principaux : d’une part, l’utilisation du service Sketchfab pour l’affichage 3D temps réel de chaque élément, ce qui permet contrairement à une vidéo d’observer le mouvement sous tous les angles, zoomer, faire pause afin d’être certain que ce que l’on achète convient.
D’autre part, les tarifs relativement abordables : les scènes avec humains sont toutes disponibles pour une quinzaine d’euros. Les scènes avec cheval sont plus chère, le record étant atteint avec l’extrait “lie down” (1500€ environ). On imagine évidemment que la raison est la nécessité de recourir à un cheval spécialement dressé.

Enfin, sur le plan technique, les données sont fournies au format FBX avec mouvement en 120fps appliqué à un squelette (les personnages des visualisations sont présents de façon purement esthétique et ne sont pas inclus).

L’article Une nouvelle librairie de motion capture pour vos projets est apparu en premier sur 3DVF.

Rebooted : le quotidien morose d’un personnage de stop-motion

Par : Shadows

Michael Shanks dévoile son court-métrage Rebooted, qui met en scène la vie difficile d’un acteur-squelette de stop-motion cherchant tant bien que mal à trouver des rôles. Une tâche peu évidente à une époque où la stop-motion est passée de mode.

Ce film, que l’on peut évidemment lire comme un hommage aux effets traditionnels, a justement fait appel à des techniques variées : stop-motion, animation 2D, costume, mais aussi des effets plus modernes pour certains éléments.
Le making-of visible plus bas en révèle une partie ; une interview du réalisateur vous en apprendra également un peu plus sur les coulisses.

L’article Rebooted : le quotidien morose d’un personnage de stop-motion est apparu en premier sur 3DVF.

Epic Games met la main sur Cubic Motion

Par : Shadows

Epic Games annonce le rachat de Cubic Motion, une entreprise spécialisée dans l’animation faciale et la performance capture dont le nom vous dit sans doute quelque chose. Il s’agit en fait d’un partenaire de longue date d’Epic Games, et les deux entités avaient déjà travaillé sur des projets tels que Siren en 2018, Meet Mike en 2017.
Ce rachat a d’autant plus de sens qu’un autre partenaire de ces démos, 3Lateral (spécialisé dans la capture d’humains et de leurs mouvements), déjà été racheté en janvier 2019 par Epic Games.

Outre son travail commun avec Epic Games sur plusieurs démos temps réel, Cubic Motion a développé Personna, une technologie maison de capture et traduction de la performance d’un acteur vers sa doublure numérique, le tout en temps réel.

Avec ce rachat, Epic Games poursuit donc son objectif de proposer des outils de plus en plus puissants pour représenter des humains photoréalistes animés. Des technologies utiles à la fois pour le jeu vidéo, les cinématiques mais aussi l’animation et le cinéma : autant dire que ce rachat est en parfait accord avec la politique d’expansion tous azimuts de l’équipe derrière le moteur Unreal Engine.

L’article Epic Games met la main sur Cubic Motion est apparu en premier sur 3DVF.

Twinmotion 2020 est de sortie : quoi de neuf ?

Par : Shadows

L’équipe Twinmotion (qui fait désormais partie du groupe Epic Games) dévoile la version 2020 de son logiciel. Pour rappel, Twinmotion est une solution de visualisation architecturale qui s’appuie sur Unreal Engine.

Cette nouvelle version met surtout l’accent sur la qualité du rendu, la végétation et l’ajout d’outils de pipeline, avec au menu : lumières volumétriques, illumination globale en screen-space, ciel et atmosphère physiques, profondeur de champ améliorée, area lights, matériau émissif amélioré, “Twinmotion presenter” (un outil de visualisation standalone destiné aux clients), visualisation de conduites et tuyaux, notes au format BCF, croissance de la végétation, outil de dispersion pour la végétation également, végétation plus détaillée et avec gestion des saisons, personnalisation du gazon, outil “peinture de végétation” amélioré, lien direct avec Rhino, matériaux vidéo, nouveaux personnages humains scannés et animés.

L’article Twinmotion 2020 est de sortie : quoi de neuf ? est apparu en premier sur 3DVF.

5 Time-Saving After Effects Tips for Motion Designers

There’s always something else to learn when creating motion graphics in After Effects. Here are 5 workflow tips to prove it. Motion graphics are hard — I’ll ...

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