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VEGAS Creative Software Extends Content Creation Expertise to Live Streaming with Launch of VEGAS Stream

VEGAS Creative Software Delivers Professional Caliber Live Streaming Integrated with VEGAS Pro for Post Production Workflow VEGAS Creative Software (www.vegascreativesoftware.com) announced today it is extending its video production and post-production expertise to the live streaming market with the launch of VEGAS Stream. Developed in partnership with NewBlue (newbluefx.com/), VEGAS Stream was developed to serve the ...

The post VEGAS Creative Software Extends Content Creation Expertise to Live Streaming with Launch of VEGAS Stream appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Virtual DJ, djay Pro AI now compatible with Rane ONE

Great news for djay PRO AI and Virtual DJ users – starting today, you can now use both programs with a Rane ONE controller (psst – thinking about trying out the ONE? Read our review here). Both softwares are now plug-and-play compatible with the device. On the djay PRO AI front, this means you’ll be able […]

The post Virtual DJ, djay Pro AI now compatible with Rane ONE appeared first on DJ TechTools.

HPA Announces Program and Schedule Updates for Annual Tech Retreat

In an event that boasts over 25 years of industry – changing thought leadership, the unique circumstances of 2021 promise to make the 2021 HPA Tech Retreat the most consequential in its history.  From March 15-24, in live and recorded content, accessible to a world-wide audience, HPA will present panels, events, and demonstrations that will ...

The post HPA Announces Program and Schedule Updates for Annual Tech Retreat appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Forcer l’extinction d’une machine virtuelle VMware Fusion

Avec VMware Fusion, j’ai eu un petit souci récemment : impossible d’éteindre une machine virtuelle. J’avais testé Windows 2000 pour un article du blog, et ma machine virtuelle plante quand je l’éteins de façon logicielle (avec le menu). Elle fait un écran bleu… puis redémarre. Pas très pratique.

Oups

Dans les menus de VMware, il y a bien un item Arrêter… mais il envoie le signal d’arrêt à la machine virtuelle. Donc Windows essaye de s’éteindre… et plante. J’ai donc cherché s’il y avait l’équivalent d’un bouton off. Et ça existe. Avec la touche option. En pressant la touche, Arrêter devient Désactiver, ce qui permet d’éteindre (violemment) la machine virtuelle. Attention, le menu va littéralement « couper le courant » de la machine virtuelle, donc si l’OS est en train d’écrire ou d’effectuer des tâches de maintenance, ça peut corrompre le système. Mais dans mon cas, vu le fonctionnement de Windows 2000, ce n’est normalement pas trop un souci : quand il démarre, il se place sur un menu qui permet de choisir la session de démarrage (et ne fait théoriquement rien).

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Gear Roundup: Our Top Picks of 2020

There’s no doubt that 2020 was been one hell of a year. With a pandemic completely shutting down nightlife and wrecking the music industry as we know it, 2020 took quite an unexpected turn that left many DJs, producers, and music lovers scratching their heads a bit. But not all was lost this year –– a […]

The post Gear Roundup: Our Top Picks of 2020 appeared first on DJ TechTools.

Pace Pictures Makes Virtual Production a Reality for Independent Film

Sean McGinly’s romantic comedy “Match” is shot virtually with a small crew on a modest budget in just five days. HOLLYWOOD— The future of independent film production in a post-covd-19 world is taking “virtual” shape at Pace Pictures in Hollywood. The boutique facility recently used groundbreaking virtual production technology to produce Match, a feature-length romantic ...

The post Pace Pictures Makes Virtual Production a Reality for Independent Film appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Virtuality 2020 : nos impressions sur un salon en réalité virtuelle

Par : Shadows

Cette année, les salons et conférences ont adopté de nombreuses formes pour faire face à la pandémie: si certains évènement ont été totalement annulés, d’autres se sont déportés sur Zoom, des sites web, ou même dans des univers 3D.

Virtuality, la semaine passée, avait choisi cette dernière option. Le salon consacré à la réalité virtuelle s’était associé à Manzalab et sa solution Teemew :

Teemew était ici décliné dans une version sur mesure pour Virtuality. C’est d’ailleurs un des points de vente de cette solution : Manzalab peut l’adapter en fonction des besoins précis d’un salon.

Si la plupart des visiteurs ont utilisé l’outil sous Windows ou Mac OS, nous avons pu avoir accès à la version Oculus Quest, en beta fermée. De quoi vivre une conférence sur la réalité virtuelle… En réalité virtuelle.

Un salon plus vrai que nature

La philosophie Teemew est claire : reproduire de façon réaliste l’expérience d’un salon, avec ses éléments classiques : stands, hall, salles de conférences.
Si ce choix pourra frustrer les personnes qui auraient voulu un peu plus de folie artistique (rien n’empêcherait d’avoir des décorations flottantes, une architecture à la Escher, de repenser totalement la navigation en faisant abstraction de la gravité ou des contraintes spatiales), il n’est pas absurde de rester proche du réel. Après tout, Teemew a pour but de pouvoir remplacer des salons quel que soit le public, et imiter les évènements physiques rend le résultat très intuitif.

Concrètement, l’application Virtuality Experience (une version personnalisée de Teemew) proposait au lancement de créer son avatar, le choix d’éléments étant assez limité pour le moment. Il est possible d’appliquer une photo sur le visage, en revanche on ne pourra pas vraiment personnaliser réellement les vêtements : un logo de société serait pourtant sans doute un plus pour repérer les gens dans la foule. D’autant plus dommage que cette option est gérée pour certains types d’avatars (par exemple ceux de l’équipe Teemew, qui arborait le logo de l’outil) : nous aurions aimé un accès généralisé.

Image

Une fois l’avatar créé, place au salon : l’application nous positionne à l’entrée avec un guichet d’accueil et une large allée bordée de stands.

Il est alors possible de se déplacer, à la manière d’un jeu vidéo en vue à la troisième personne ou, dans la version Oculus Quest, par téléportations et en vue subjective.
Envie de savoir qui est en face de vous ? Il suffit dans l’application desktop (l’outil n’était pas encore présent en VR) de pointer une personne pour voir son identité.
Envie de visiter un stand ? Il suffit de cibler son entrée pour se téléporter à l’intérieur, dans une pièce fermée (pas de stands ouverts, donc).

Dans ces stands, l’aménagement est assez fonctionnel : un bureau d’accueil avec sonnette, des affichage interactifs (par exemple pour faire défiler un diaporama), des espaces de discussion avec gestion de l’audio (il faut passer à l’intérieur de la zone délimitée pour pouvoir écouter/parler), ou encore des bancs devant un écran : parfait pour une petite présentation aux visiteurs du stand.

Côté ambiance, plusieurs styles sont disponibles en fonction des envies des entreprises ayant loué leur stand : espace futuriste/néon, aménagement plus classique, etc.

Notons enfin que l’affluence dans les stands est limitée, et que leur capacité est variable : comme sur un vrai salon, il est donc possible de moduler l’ampleur de sa présence, selon que l’on soit un grand groupe ou une startup.

Outre les stands, on peut trouver dans les allées des « Chat Rooms » : des espaces de discussion avec un audio restreint aux seules personnes situées dans la pièce. Une très bonne idée pour échanger avec des personnes croisées sur le salon.
Nous avions déjà pu voir des mécaniques similaires dans l’application 3D Virbela employée par Laval Virtual en début d’année, et le concept nous semble très probant.

Du côté des conférences en revanche, Teemew diffère fortement de Virbela : le placement est ici automatique et vous serez systématiquement placé au centre et vers l’avant de la salle. Virbela, de son côté, proposait de choisir sa place en se déplaçant dans la salle et en choisissant soi-même sa place.

Les intervenants sont représentés sur scène, de part et d’autre d’un écran virtuel. Plusieurs éléments visuels permettent de savoir qui intervient : un symbole de son actif/coupé, et une petite animation de bras en mouvements. Basique mais efficace. On aurait éventuellement aimé disposer d’un affichage permanent des noms des intervenants, mais l’ensemble reste très clair et compréhensible dès le premier usage.

Du côté de l’affichage sur l’écran virtuel, le résultat était en revanche un peu décevant lors de nos essais en VR : d’une part en raison de la résolution du Quest 1 que nous avons utilisé (la version 2 serait nettement plus adaptée, avec son gain en pixels et clarté), d’autre part à cause de problèmes très fréquents lors de la lecture de vidéos.

La salle de conférence, en tournant le dos à la scène : des avatars représentent le public présent.

Desktop ou casque : quelles différences ?

Dans l’ensemble, Teemew en version Oculus Quest se rapproche fortement de sa déclinaison desktop. Quelques différences notables sont toutefois présentes : le système de chat pour poser des questions est remplacé par une interface vocale, par exemple. Par ailleurs, pour s’adapter aux performance d’un Quest, le système d’avatar nous semble avoir été simplifié (avec du coup le sentiment de croiser en boucle les mêmes visages).

L’immersion rend certains éléments bien plus intuitifs : sur desktop, notre réflexe pour entrer dans la salle de conférence ou sur un stand était spontanément de marcher vers la porte, alors qu’il faut cliquer dessus. En VR, à l’inverse, la téléportation et le clic étant fusionnés, la question ne se pose pas.

Enfin, en termes de sensations, la VR rend l’expérience bien plus proche d’un « vrai » salon physique, et l’éloigne d’un jeu vidéo.

Version desktop : petit groupe devant l’entrée d’une salle de conférence.
Un bug en sortie de conférence : plusieurs personnes téléportées au même endroit. Nous avions rencontré le même type d’artefact visuel avec Virbela, durant Laval Virtual.
Sur la gauche : un avatar portant le logo Teemew. Ce type de badge, généralisé et personnalisable, serait sans doute un atout pour savoir qui est qui.

La prise de notes, un problème sans solution

Au final, le seul vrai souci spécifique à la réalité virtuelle concerne… La prise de notes, évidemment complexe en portant un casque. Le problème est difficile à résoudre car il nécessiterait sans doute une évolution du matériel : une possibilité serait par exemple d’afficher l’environnement réel sur la zone basse de l’écran (le Quest permet déjà d’afficher l’environnement, mais uniquement en totalité et en noir & blanc et définition médiocre), une autre d’utiliser le tracking des doigts pour afficher les mains virtuelles avec précision, en simulant le texte écrit (mais la précision actuelle du suivi n’est clairement pas au niveau pour une telle prouesse). Enfin, la prise de notes en écrivant en l’air avec les manettes nous semble peu envisageable sur le plan ergonomique.
En l’état, il nous a fallu relever le casque régulièrement, écrire à l’aveugle, ou profiter de l’imperfection de la jointure du Quest au niveau du nez pour entrevoir ce que nous écrivions.

Teemew étant personnalisable, un salon peut multiplier les halls et permettre aux visiteurs de se téléporter de l’un à l’autre : de quoi disposer d’un espace vaste sans pour autant faire s’effondrer les performances d’affichage à cause d’un hall unique énorme.

Un concept prometteur : rendez-vous en 2021 !

En conclusion, la version VR de Virtuality Experience nécessite encore clairement du développement et des améliorations, mais ce constat est logique pour une beta. Le concept nous semble très prometteur. Plus largement, l’utilisation de mondes 3D apporte une touche d’originalité au milieu d’un océan de réunions Zoom, et permet sans doute de faciliter les rencontres fortuites, comme sur un vrai salon. Des améliorations seront souhaitables pour améliorer l’expérience, comme nous l’avons évoqué. On apprécierait aussi, pour la version desktop, de disposer d’une option avec des graphismes plus poussés, quitte à ne pas l’activer par défaut.

En tous cas, qu’il s’agisse de lancer un nouveau salon ou de faire face à une pandémie, la solution Teemew, personnalisée ici en Virtuality Experience, est clairement une approche viable.

Comme, justement, Virtuality 2021 devrait au moins en partie s’appuyer sur le même concept, nous aurons l’occasion de vous parler à nouveau de Teemew et des progrès futurs de ce produit.

L’article Virtuality 2020 : nos impressions sur un salon en réalité virtuelle est apparu en premier sur 3DVF.

Virtuality en approche : un salon à découvrir en 3D temps réel et en VR !

Par : Shadows

Le salon Virtuality se tiendra la semaine prochaine, du 2 au 4 décembre. Pandémie oblige, l’édition 2020 de cet évènement consacré à la réalité virtuelle et augmentée sera dématérialisée.

L’équipe organisatrice a choisi de proposer un système de monde virtuel, un peu à la manière de ce qu’avait retenu Laval Virtual en début d’année. Concrètement, vous pourrez choisir un avatar (avec votre visage si vous le souhaitez), puis vous lancer sur PC, Mac ou encore Oculus Quest.

En ce qui concerne le contenu, le salon proposera :

  • des conférences sur des thèmes variés et d’actualité : essor des conférences virtuelles, pitch de projets, 5G et XR, XR et règles sanitaires, télétravail, art, culture, éducation, focus sur l’Amérique Latine…
  • un espace exposants avec Microsoft, Orange, Manzalab, Minsar, HoloForge, Light & Shadows, Immersion, Teemew…

Virtuality 2020 est en accès gratuit, mais sur inscription uniquement. Le site officiel vous donnera tous les détails ainsi que l’agenda complet.

L’article Virtuality en approche : un salon à découvrir en 3D temps réel et en VR ! est apparu en premier sur 3DVF.

Jumpstart Your Live Streaming Abilities with the StreamGeeks Summit

The StreamGeeks will be yet again hosting an industry collaboration event called StreamGeeks Summit, Friday, Dec. 11, 2020.  The video production team who brought you The Presence Summit, The Worship Summit, and the original StreamGeeks Summit, have announced StreamGeeks Summit 2.0. The StreamGeeks Summit is a celebration of all that live streaming and video production ...

The post Jumpstart Your Live Streaming Abilities with the StreamGeeks Summit appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Mo-Sys Creates Spectacle for Live Music Extravaganza

Little Mix put into virtual stadium setting thanks to precision camera tracking Mo-Sys Engineering, a world leader in precision camera tracking solutions for virtual studios and augmented reality, took a central role in the Covid-safe production of a live online entertainment awards show. Normally held in a stadium venue, this year production company and media ...

The post Mo-Sys Creates Spectacle for Live Music Extravaganza appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Stream from Beatport in VR with Tribe XR’s new LINK integration

If you’re a DJ with no decks at home, or wishing you could play on that club setup you love so much, listen in. Tribe XR, a virtual reality platform for DJing, has teamed up with Beatport to integrate Beatport LINK into their program. This move ultimately makes it possible for Tribe XR users to use […]

The post Stream from Beatport in VR with Tribe XR’s new LINK integration appeared first on DJ TechTools.

VR Projects @ ECAL MID 2020 – Object, Body, Movement and Environment

VR Projects @ ECAL MID 2020 – Object, Body, Movement and Environment
Four projects by students at ECAL (Media Interaction Design) explore the possibilities of VR. From alternative interfaces and public space to architectural interface and what its like to experience the environment of yellow ants.

Maxon Announces November 3D & Motion Design Show Lineup

Maxon’s November Edition Returns November 18th with Presentations on Character Animation, 3D Rigging, Creating ‘Blindsight’, and More! Friedrichsdorf, Germany – November 13, 2020 – Today, Maxon announced the lineup for the November 3D & Motion Design show, a free series of artist-focused streaming shows for 3D and motion graphics artists. Taking place online on November ...

The post Maxon Announces November 3D & Motion Design Show Lineup appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Pixotope Version 1.4 unleashes creative functionality of Unreal Engine 4.25 for photo-realistic mixed reality

New release boosts productivity and enhances Ultra HD and keying capabilities   OSLO, NORWAY — 16 October 2020: The Future Group, creators of live photo-realistic virtual production system Pixotope®, today announced it has introduced version 1.4 of the software. This includes full support for Unreal Engine version 4.25, as well as other improvements around connectivity ...

The post Pixotope Version 1.4 unleashes creative functionality of Unreal Engine 4.25 for photo-realistic mixed reality appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Virtualis – la startup française de VR thérapeutique

Par : A-Renaud
laval virtual virtualis

Virtualis est un logiciel destiné aux professionnels de la santé fonctionnant avec l’Oculus Rift qui permet de traiter les vertiges et des troubles de l’équilibre, mais aussi d’apprendre à vaincre ses peurs.

Mise à jour 15/10/2020 : Depuis notre rencontre au Laval Virtual 2015, Virtualis a beaucoup évolué. Elle équipe aujourd’hui plus de 450 structures dans 24 pays différents et plus de 100 000 patients ont déjà été traités avec ses solutions.

La startup a diversifié son offre. Elle propose une solution complète de rééducation fonctionnelle, PhysioVR, Cette solution repose notamment la thérapie miroir en VR pour la prise en charge des victimes d’AVC, des amputés ou de l’algodystrophie.

Différents modules sont proposées pour les diverses parties du corps et troubles spécifiques. En 2018, ce pack logiciel a remporté le trophée Rééduca Innov’.

La firme propose aussi une offre spécifiquement adaptée aux troubles de l’équilibre, VertigesVR, également récompensée en 2016 par le trophée Rééduca Innov’. Cette solution fruit de 10 ans de R&D permet notamment de remédier aux problèmes de vertiges, de mal des transports ou de syndrome du défilement. Elle a aussi reçu le prix de l’innovation Kiné 3.0 en 2017.

En 2020, Virtualis a lancé Motion VR : une plateforme de posturographie dynamique combinant la réalité virtuelle et différentes technologies de pointe. Cet appareil all-in-one permet de multiples applications, et aide à l’optimisation de l’espace dans un cabinet ou un centre grâce à son encombrement minimal. L’entretien et la maintenance sont également aisées.

A l’aide de cet équipement, il est possible de réaliser des bilans complet ou encore des exercices ludiques de rééducation progressive en VR. L’appareil regroupe deux plateformes de force avec 4 capteurs par pied, une répartition des appuis, des mouvements à 360 degrés contrôlés et quantifiables, et différents programmes de réalité virtuelle immersifs.

Virtual compte parmi les pionniers d’une industrie qui s’est beaucoup développé en quelques années. Aujourd’hui, il existe de nombreuses startups et entreprises dans le domaine de la VR au service de la santé

Article original du 10 avril 2015 :

La réalité virtuelle est surtout connue pour son application vidéoludique, mais certaines personnes s’en servent pour soigner les gens. C’est le cas de Franck Assaban, directeur général de Virtualis, une startup de 3 personnes, qui a développé un logiciel pour Oculus Rift qui permet de traiter les vertiges et les troubles de l’équilibre. “À la base, je suis kinésithérapeute spécialisé dans la rééducation des vertiges et des troubles de l’équilibre. On utilise du matériel qui donne de bons résultats, mais qui est extrêmement couteux. L’idée c’était donc d’avoir les mêmes résultats, mais avec moins de contraintes. On a fait différentes recherches et on est tombé sur l’Oculus Rift” explique-t-il.

Reproduire ce que l’on sait faire

Grâce au casque de réalité virtuelle, Franck et son équipe ont donc pu reproduire les effets du matériel utilisé jusqu’alors par les professionnels. “Le principe, ça a été de reproduire l’optocinétique : c’est normalement une boule à facette lumineuse qui projette des points donnant l’impression que la pièce est en rotation pour avoir l’impression d’être soi-même en mouvement. C’est complexe et il y a beaucoup de contraintes. Avec l’Oculus, on reproduit une sphère qui va bouger et le patient est obligé de suivre les points lumineux. Tout est paramétrable, programmable. On a une efficacité augmentée, des coûts réduits et une installation très facile” poursuit-il avant d’ajouter “je m’en sers tout le temps d’ailleurs. Ma boule à facette est tombée en panne je ne l’ai jamais réparée”. En effet, une boule optocinétique coûte environ 5 000 euros tandis que Virtualis sera vendu, casque compris, pour 2 500 euros.

Une vocation à élargir le champ des possibilités

En plus, le logiciel permet d’inclure énormément d’autres applications en mettant l’accent sur les phobies et notamment la peur du vide. Encore une fois, Franck Assaban est très confiant sur l’efficacité de son produit. “Par exemple, pour la peur du vide j’utilise une application qui simule un saut à l’élastique et en fait le patient peut « voir » ses pieds au bord du vide. Très progressivement j’arrivais à le faire avancer. Mais ça ne m’intéresse pas qu’il réussisse dans le jeu sans retour dans la réalité. Donc je lui demande de se mettre en difficulté progressivement et qu’il me dise s’il y a une corrélation. Et j’ai un patient comme ça qui n’était pas bien au premier étage et maintenant il arrive à monter au cinquième. Il y a donc des résultats !”

Virtualis a réussi à séduire plus de 45 établissements, qui utilisent actuellement ses solutions pour traiter les maux de milliers de patients.

Pour l’heure, Virtualis est en phase de bêta-test auprès de plusieurs professionnels. Néanmoins, il a fort à parier que le système envahira bientôt les cabinets de nos médecins spécialisés.

Cet article Virtualis – la startup française de VR thérapeutique a été publié sur Réalité-Virtuelle.com.

Mo-Sys launches radical new design for camera gyro-stabilization

Mo-Sys, world leader in precision camera tracking solutions for virtual studios and augmented reality, today launched a new generation of gyro-stabilized remote head, the G30. Its radical new design, with a compact, 45-degree frame, allows it to support virtually any broadcast or digital cinematography camera rig for precise movement and stabilization. “In our conversations with ...

The post Mo-Sys launches radical new design for camera gyro-stabilization appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

The Entropy Gardens – A spatiotemporal poem in VR

The Entropy Gardens – A spatiotemporal poem in VR
Created by Vienna based Depart, 'The Entropy Gardens' is an explorative VR experience that challenges one of humanity’s most archetypical art forms – garden making. It explores its myths, aesthetics and modes of perception.

Mo-Sys to demonstrate virtual studio technologies at BroadcastAsia 2020

London, UK, 22 September 2020: Mo-Sys, a world leader in precision camera tracking solutions for virtual studios and augmented reality, will be showcasing its award-winning StarTracker Studio at BroadcastAsia 2020’s all-new virtual reality experience running from September 29 to October 1 2020. Having recently won a Virtual Best of Show Award during IBC 2020, Mo-Sys ...

The post Mo-Sys to demonstrate virtual studio technologies at BroadcastAsia 2020 appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

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

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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.

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SAP ‘Sapphire Now’ Conference Transports Workforce to Virtual Worlds with disguise xR

disguise supported partners Live Legends and Purple to build a customised xR experience for remote edition of SAPs annual conference – disguise xR technology (Extended Reality) has helped deliver the virtual edition of the ‘Sapphire Now’ conference, hosted by worldwide enterprise application software company SAP, who offer tools to enable easier virtual working for users. ...

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The Future Group Unveils Significant Mixed Reality Advances in Pixotope Version 1.3

  Our object tracking software integration allows users to reach new levels of freedom while interacting with virtual elements on set   OSLO, NORWAY — 23 July 2020: The Future Group, creators of live photo-realistic virtual production system Pixotope®, today unveils its latest Version 1.3 software featuring a wide range of advances that significantly improve ...

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GOGBOT: Enschede, 10 – 13 September 2020

Par : Marco Savo



Gogbot is an audiovisual event for creative technology, science, new media arts and music.

Out and about robots, hard-techno futuristic music, crazy bonkers live performances, audiovisual extravaganza with a general cyberpunk attitude to bond it all together.

All of this and much more is offered by Gogbot Festival, the techno-hardcore-sci-fi audiovisual event based in Netherlands.

Basically the kind of event we would go on a normal weekend if we were living in the Mad Max universe. The main aim of the event is showcasing the most avant-garde and cutting edge trends in the audiovisual and new media world. And then push a little further!

Gogbot - Audiovisual Event - Robotics
Compressorhead - Animatronics Band

There is nothing quite like Gogbot on the audiovisual scene: AI meets AV, Science meets music, art meets activism during 4 intense days of multidisciplinary activities across Enschede.

Every year, the organizers propose a controversial and thought-provoking theme set to trigger reflection in the community and cutting-edge experimentation by the selected artists. Innovation in digital creativity is key and the festival creates a sonic space for this.

Every year, the result is an insanely powerful and immersive artistic rendez-vous that leaves a lingering impact awhile after the end of the festival.

This year theme is Quantum Supremacy, a mind-blowing, controversial, but extremely urgent theme.

Big companies such as Google, Microsoft, and IBM are competing to build the first quantum computer, a ‘supercomputer’ expected to be a staggering one billion times faster than today’s best computer. What will the quantum future hold?

In this Age of Pandemic, we are made acutely aware of our dependence on digital technology for work, education, and healthcare. Now more than ever, the growth of digital technology demands critical reflection.

Globalization and economic growth have brought us pandemic and environmental destruction. How can we break this cycle? Can we harness quantum technology to protect ourselves and the world we live in?

Pubblicato da GOGBOT su Domenica 12 luglio 2020

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Mo-Sys introduces the one-stop 4K virtual studio

London, UK, 16 July 2020: Mo-Sys, a world leader in precision camera tracking solutions for virtual studios and augmented reality, has brought virtual studio production within reach of everyone with StarTracker Studio, the world’s first pre-assembled production package. The system is scalable to any size production, and can support 4K Ultra HD. Critical for virtual studio ...

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PATCHLAB FESTIVAL: Krakow, 23-25 October 2020

Par : Marco Savo



Patchlab Digital Art Festival is an annual audiovisual event showcasing digital art created with the latest technologies and new media.

The theme of the 2020 edition is CONNECTED. It explores the implications of the digital revolution we are undergoing in our lives due to the pandemic. The head-spinning rise of the internet based communication during the last months is still quite hard to grasp.

The internet was created originally as an effective and immediate form of communication. With the evolution of social media platforms, the world wide web is now a primary channel to express our emotions.

Audiovisual artists can help us understand the fast-changing environment we live in by visualizing the Nietzsche’s unsaid. Anything that is too complex for a total comprehension can be grasped by living the artistic experience.

Immersive installations, interactive artwork and live performance communicate complex statements through sensorial experience, giving us the chance to digest information slowly, at our own pace. Generative art as an antidote to the overwhelming data dump we experience everyday.

Patchlab festival - Audiovisual event
Matteo Zamagni, Nature Abstraction


Due to the uncertainty of in-person attendance, the organizers are planning the audiovisual event through virtual platforms. It will be therefore accessible to a wider audience through the experimental use of new technologies.

Patchlab will present art projects online and via AR (augmented reality). There will be experimental computer animations presented in the virtual cinema, remotely accessible workshops and also a dystopian multi-person computer game allowing the exploration of a post-apocalyptic New York. There will also be AV NIGHT, during which we will see unique audiovisual projects in 360° format.

OPEN CALL – DEADLINE: 30th of July 2020

All audiovisual artists are invited to submit their project proposals for this year’s program to be implemented online in an unexpected way.

Proposals can only be submitted via the online form.

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VJ Suave

Par : Marco Savo


Ceci Soloaga and Ygor Marotta are a duo of audiovisual artists based in São Paulo, Brazil.

VJ Suave bring something colorfully unique to the international panorama of audiovisual art. They have been combining street art and projection mapping since 2009.

Thanks to their innovative audiovisual approach, they are able to travel around the city with portable projectors and draw with lights on the streets, buildings and landscapes. In real time. Improvising. Like a graffiti writer would do.

VJ Suave - Audiovisual artist

Audiovisual and street art are in my opinion the true forms of contemporary art, as they reduce the distance between the art world and the people. They speak a more familiar language than any other art forms. They are anti-elitist by nature, not as a result of a specific political statement.

Vj Suave audiovisual live stories are called “Suaveciclos”. They make use of Tagtool, an app for tablet allowing drawings in real time.

These itinerant projection mappings are colorful, imaginative and highly engaging. Kids absolutely love them as they perceive immediately the drawings are made specifically for them to play with.

VJ Suave - Audiovisual artists
VJ Suave create fantasy friendly characters on the go that take on the streets, riding on ethereal light beams. As they come they disappear. Only to then reappear somewhere else. Constantly playing catching up.

It’s very hard not being immediately charmed by their delicately funny audiovisual storytelling. And there is no reason to resist! Their communication with the audience is honest, inspiring and most importantly inclusive: none is left out in this projection mapping extravaganza.

More recently the audiovisual artists have been taken a step further allowing the viewers to step into their visionary world by using VR.

In their enchanted forest (“Floresta Encantada”) the explorers are invited to build relationships with the native inhabitants of the forest: indigenous and animals. A very powerful example of how virtual reality can be used to get us closer to our ancestors and the natural world rather than alienating us.

The viewer is invited to find their own inner harmony with the sounds and visual elements of the forest in order to become unified with the surrounding environment. The result is an unique experience with plenty of food for thoughts to be snacked upon.

As we often advocate the meaningfulness of the artistic experience depends on the artist intent more than on the tool that is being used.

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ARS ELECTRONICA: 9 -13 September 2020, Linz

Par : Marco Savo



Ars Electronica is THE new media arts festival: a core reference for audiovisual events and artists worldwide.

The festival and its audiovisual artists embrace new technology as a tool for artistic expression rather than the main factor of spectacularization.

This critical approach unlock the infinite creative possibilities within new technologies rather than fetishize them, as we have seen happening a lot with projection mapping and more recently with virtual reality.

ars electronica -audiovisual event

The festival was founded in 1979 by cyberneticist/physicist Herbert W. Franke, electronic musician Hubert Bognermayr, music producer Ulli A. Rützel and Hannes Leopoldseder. It has come a very long way since then but it has always kept its main focus on the intersection of art, technology and society.

One of the most appealing elements of the festival is The Prix Ars Electronica: the most prestigious prize in new media arts, with hefty prizes up to 10.000€. Every year the Golden Nica is awarded to the ground-breaking fruits of artistic experimentation from audiovisual artists worldwide.

Prix Ars Electronica - Audiovisual event - open call

Ars Electronica features a wide variety of activities every year: Symposia, exhibitions, performances, concerts and interventions spanning a broad arc from speculative futuristic scenarios to analytical considerations, from provocative actionism to philosophical debate.

Combining amazing artworks with fruitful conversations is the perfect recipe to create a meaningful experience that constantly scans the new media landscape to find the most inspiring projects. The projects are not simply chosen based on their technical realization but most importantly because the social and artistic innovation they incorporate.

The result of this consistent endeavour is the creation of a loyal community of audiovisual artists, researchers and visitors from all over the world that every year reunites in Linz to inspire and get inspired.

 deep space live - fata morgana - audiovisual artists
Deep Space LIVE – Fata Morgana

Since its inception, the festival has been dedicated to develop new themes for each edition and the organizers are also constantly on the lookout for interesting new venues.

Indeed, the ongoing effort to break out of the narrow confines of conventional conference rooms and artistic spaces, and to stage cultural and scientific encounters in the public sphere has become something of an Ars Electronica trademark.

Stay tuned: Ars Electronica 2020 theme will be released soon!

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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.

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