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Calrec: Craft Interview, John Hunter, A1 Mixer

Par : Jump

A freelance audio engineer (A1) for Dome Productions in Canada, John Hunterfirst discovered his passion for audio with live music. Eventually, his path led him to sports and he (in normal times) mixes every Toronto Raptors home game on TSN and Sportsnet and has travelled with the production team to work every playoff game, including ...

The post Calrec: Craft Interview, John Hunter, A1 Mixer appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

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




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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

MTI Film Accelerates Set-to-Screen Workflow Management with CORTEX v5.3

New version adds features to render multiple dailies formats simultaneously, enhanced support of HBO, Hulu and Quibi, and streamlined dead pixel detection for Netflix. HOLLYWOOD— MTI Film today announces the release of CORTEX v5.3, the latest version of its family of products for managing workflows on set and in post. This latest release includes a ...

The post MTI Film Accelerates Set-to-Screen Workflow Management with CORTEX v5.3 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.

Sarah Deas joins Pixel Power to strengthen sales team

Cambridge, UK, 18 June 2020: Pixel Power, the global leader in graphics production and playout automation, has appointed Sarah Deas to its head office team. Deas will provide internal sales support to the sales teams in the Cambridge base and regional offices in North America, South-East Asia and the Middle East. “I am delighted to ...

The post Sarah Deas joins Pixel Power to strengthen sales team appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

South Africa’s Wild & Marr join Calrec’s expanding distributor network

Par : Jump

Calrec continues to expand its global coverage with the appointment of Wild & Marr in South Africa who will supply and service Calrec’s TV and radio product range across the region and install them in its forthcoming Experience Centre in Johannesburg, South Africa. Gary Furman, Managing Director at Wild & Marr, said, “We are very ...

The post South Africa’s Wild & Marr join Calrec’s expanding distributor network appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Mediaproxy helps broadcasters meet challenges of remote workflows

Melbourne, Australia – 8 June 2020: Mediaproxy, the leading provider of software-based IP broadcast solutions, has been at the forefront of developing new television distribution workflows over the last 20 years. A major part of this has involved allowing increased remote operation of key functions such as monitoring and analyzing streams to ensure quality and ...

The post Mediaproxy helps broadcasters meet challenges of remote workflows appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

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.

Intinor to Demonstrate How to Do Remote Production in Live Webinars With Skaarhoj

Umea, Sweden 21 May 2020 — Intinor Technology, Sweden’s leading developer of products and solutions for high quality video over the internet, will be demonstrating how to do remote production in a series of live webinars with Danish company Skaarhoj, manufacturers of universal broadcast control panels. The aim is to showcase how the remote production ...

The post Intinor to Demonstrate How to Do Remote Production in Live Webinars With Skaarhoj appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

RUSHWORKS VDESK Integrated Production System and Streaming Solutions Enable Quick and Easy ‘Shelter-in-Place’ Compliance

RUSHWORKS VDESK Integrated Production System and Streaming Solutions Enable Quick and Easy ‘Shelter-in-Place’ Compliance Municipalities maximize existing systems for optimized remote capabilities via RUSHWORKS’ easily adaptable technologies Flower Mound, TX –  May 18, 2020 – RUSHWORKS, provider of cool technology for production, playback and streaming since 2001, provides remote production systems and streaming solutions to customers ...

The post RUSHWORKS VDESK Integrated Production System and Streaming Solutions Enable Quick and Easy ‘Shelter-in-Place’ Compliance appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

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⁣EXO/ENDO from six years ago. Still one of our favorite projects ever and some of the best music we’ve been able to work with from the amazing @andrelizyoung. Haunting, dark, and brooding just like we like it. We got to encase the entire ensemble in pods of scrim and projection while we went down a tunnel, through the trees, into the fire, and through the ash fall. Exothermic and endothermic reactions of sound and light. #productiondesign #projectiondesign #projection #videodesign #destruction #layers #noise #experimental #doom #metal #music #live #liveperformance #calarts #openframeworks #millumin
https://www.instagram.com/p/CAa-T6SpcQn/?igshid=y3iuy18wa1e4

ADAF 2020 – Call for Entries

Par : Marco Savo

DEADLINE: 1 June 2020

The 16th international festival for digital arts of Greece, Athens Digital Arts Festival (ADAF) is evolving and launching an ONLINE version.

Since the new era is here the international festival for digital arts in Greece, Athens Digital Arts Festival has decided that its 16th edition titled Technotribalism, will also be presented online.

ADAF ONLINE | Technotribalism will take place from the beginning of July till September and will be accessible to everyone through the internet.

Under this framework all audiovisual artists will be able to submit applications till the 1st of June, developing the Technotribalism idea to an online version.

The audiovisual event will host artworks from Video Art, Animation, VR (360 video), Performances, Web Art, Games, Digital Image, talks, workshops, ADAF Kids for Children & their Parents and Festivals of the world that are eligible to be presented digitally.

READ MORE AND APPLY

The post ADAF 2020 – Call for Entries appeared first on Audiovisualcity.

Live Motion Capture Hologram / Çelik & Cem Yılmaz

First Real-time Motion Capture Hologram in the World
with Cem Yılmaz

CLIENT: ARÇELİK
VENUE: Zorlu PSM
08.11. 2017

CONTENT PRODUCTION, MODELING, RIGGING, REALTIME RENDERING by ILLUSIONIST

Executive Director : Ahmet GÜRBÜZ
Creative Director: Serdar KORKMAZ
Production Director: Onur KULEN
Art Director: Nila DEDEOĞLU
Sound Design: İbrahim ÖZMEN, Ufuk KEVSER, Cihangir ASLAN
Artistic Director: Çisil OĞUZ
Interactive Designer: Mustafa YILMAZ
CG Artist/Animator: Selçuk KAYA, Kutbettin ECEVİT, Furkan ALABAŞ
Yunus Emre GÜLER, Alican SAYGIN
Film Director: Egemen TOKAT
Film Editor: Öğünç HATİPOĞLU
Videographer: Eray TAŞPINAR

MOTION CAPTURE ARTISTS:
Koray TARHAN
Gürhan ALTUNDASAR
Nebi BİRGİ

MOTION CAPTURE SYSTEMS COLLABORATORS
Ivo Slivkov / TIMEAWARE
Olivier AUBAULT / DYNAMIXYZ

VISUAL SYSTEMS & HOLOGRAPHIC PROJECTION TECHNOLOGY
DISPLAY TEAM
İlker Kerem ÜSTÜNDAĞ

HOLOGRAM FABRIC PROVIDER;
SHOWTEX

SPECIAL THANKS TO
CEM YILMAZ

The post Live Motion Capture Hologram / Çelik & Cem Yılmaz appeared first on Video Mapping Blog.

All-Star Istanbul 2018 / 3 Point Contest Opening Show

Client: ING BANK
Organization: The Sales Machine

Motion Capture Artist / Dancer:
Okan AYDOĞAN

Content Production, Modeling, Rigging, Render & Motion Capture by ILLUSIONIST

Executive Director : Ahmet GÜRBÜZ
Creative Director: Serdar KORKMAZ
Production Director: Onur KULEN
Art Director: Nila DEDEOĞLU
Project Coordinator: Zafer UYGUÇ
Composer & Sound Design: İbrahim ÖZMEN

CG Artist / Animator:
Kutbettin ECEVİT, Furkan ALABAŞ,Yunus Emre GÜLER,
Selçuk KAYA, Alican SAYGIN
Interactive Designer: Mustafa YILMAZ

Film Director: Egemen TOKAT
Filmmaker: Öğünç HATİPOĞLU
Videographer: Eray TAŞPINAR
Film Editor: Özgecan SEZEN

Visual Systems & Projection Technology
Display Team
İlker Kerem ÜSTÜNDAĞ

The post All-Star Istanbul 2018 / 3 Point Contest Opening Show appeared first on Video Mapping Blog.

XX. Anniversary of Independent Turkmenistan

Illusionist worked under supervision o K-Events for the 20th year celebration of Turkmenistan. Various video and animations were produced for LED.

The post XX. Anniversary of Independent Turkmenistan appeared first on Video Mapping Blog.

World Humanitarian Summit 2016 Opening Ceremony

Special Event Coordinator (UNOCHA/UNDP): Hazami Barmada
Executive Director (Global Events, UN Foundation) : Patricia Padilla
Sr Manager (Global Events, UN Foundation) : Elizabeth DeNoia
Associate (Global Events, UN Foundation): Amanda Trocola
Head of Film on Photo (UNOCHA): Charlotte Cans

Project Management: CEO Event

Creative Director: Krista Monson
Stage Manager: Gabriel Dube-Dupuis

CONTENT PRODUCTION / ILLUSIONIST

Music Composer: İbrahim Özmen
Art Director: Serdar Korkmaz
Production Manager: Onur Kulen
Artistic Director: Çisil Oğuz
Motion Designer: Yunus Emre Güler
CG Artist/Animator: Engin Fidan, Kutbettin Ecevit, Furkan Alabaş
Illustrator: Nila Dedeoğlu, Mustafa Aslan, Gülçin Girit
Film Director: Egemen Tokat
Director of Photography: Öğünç Hatipoğlu
Film Editor: Özlem Üstün
Lighting Designer: Arek Nişanyan, Yeşim Burcu Top
Stage Designer: Burcu Altan
Stage 3D Modelling Artist: Fatih Türkmen
Accessories: Umut Kurtuluş Gürbüz, İlke Tokat
Photographer: Rezzan Altürk
Assistant Stage Manager: Reyhan Özdilek, Dilek Ocak

Scenography Technical Provider: MMT Tasarım
Stage Fabric Provider: Showtex

Special thanks to
Costume Designer: Canan Göknil
Performers: Show34

The post World Humanitarian Summit 2016 Opening Ceremony appeared first on Video Mapping Blog.

Watsons Beauty Awards

CLIENT: WATSONS TÜRKİYE
PROJECT MANAGEMENT: Tarık KÖNİ / Plus Event
VENUE: Raffles Hotel İSTANBUL

SET DESIGN & CONTENT PRODUCTION by
ILLUSIONIST

Art Director: Serdar KORKMAZ
Production Manager: Onur KULEN
Artistic Director: Çisil OĞUZ
Scenography: Ela AYDEMİR
Composer & Sound Designer: İbrahim ÖZMEN
Motion Designer: Yunus Emre GÜLER
CG Artist/Animator: Erim BENER
Illustrator: Nila DEDEOĞLU, Yaprak Su YİĞİTER
Film Director: Egemen TOKAT
Film Editor: Özlem ÜSTÜN
Director of Photography: Öğünç HATIPOGLU
Stage 3D Modelling Artist: Fatih TÜRKMEN
Photographer: Rezzan ALTÜRK
Stage Manager: Hulya Ceren ANIL
Lighting Design: Çetin TÜRKMENLİ

CHOREOGRAPHY
Beyhan MURPHY
Benan İLASLAN

VISUAL SYSTEMS TECHNICAL PROVIDER
DISPLAY TEAM
Video-mapping Watchout Operator: İlker Kerem ÜSTÜNDAĞ

STAGE FABRIC PROVIDER
SHOWTEX PRODUCTION

SOUND ENGINEERING
ALTINÇİZME ELECTRONICS

SET DESIGN TECHNICAL PROVIDER
Y3 REKLAM

DJ
Enis ÇELENK

HAIR & MAKE-UP DESIGN: Özlem SACAR

SPECIAL THANKS TO
Ibrahim GÜRBÜZ
İrem GÖREN

The post Watsons Beauty Awards appeared first on Video Mapping Blog.

Vialand Theme Park – Mystery of Istanbul

“İstanbul’un Sırları” Vialand “Fatih’in Rüyası” Preshow İstanbul, Turkey

Client: Vialand
Project Manager: Hüma Gülüm

Art Director: Serdar Korkmaz
3D Animation: Serdar Korkmaz, Erim Bener
2D Animation: Furkan Alabaş
Illustration: Nila Dedeoğlu
Storyboard: NilaDedeoğlu
Music & Sound Design: İbrahim Özmen
Voice Actor: Mazlum Kiper

The post Vialand Theme Park – Mystery of Istanbul appeared first on Video Mapping Blog.

UN World Humanitarian Summit Istanbul 2016

Special Event Coordinator (UNOCHA/UNDP): Hazami Barmada
Executive Director (Global Events, UN Foundation) : Patricia Padilla
Sr Manager (Global Events, UN Foundation) : Elizabeth DeNoia
Associate (Global Events, UN Foundation): Amanda Trocola
Head of Film on Photo (UNOCHA): Charlotte Cans

Project Management: CEO Event

Creative Director: Krista Monson
Stage Manager: Gabriel Dube-Dupuis

CONTENT PRODUCTION / ILLUSIONIST

Music Composer: İbrahim Özmen
Art Director: Serdar Korkmaz
Production Manager: Onur Kulen
Artistic Director: Çisil Oğuz
Motion Designer: Yunus Emre Güler
CG Artist/Animator: Engin Fidan, Kutbettin Ecevit, Furkan Alabaş
Illustrator: Nila Dedeoğlu, Mustafa Aslan, Gülçin Girit
Film Director: Egemen Tokat
Director of Photography: Öğünç Hatipoğlu
Film Editor: Özlem Üstün
Lighting Designer: Arek Nişanyan, Yeşim Burcu Top
Stage Designer: Burcu Altan
Stage 3D Modelling Artist: Fatih Türkmen
Accessories: Umut Kurtuluş Gürbüz, İlke Tokat
Photographer: Rezzan Altürk
Assistant Stage Manager: Reyhan Özdilek, Dilek Ocak

Technical Provider: Magicbox
Scenography Technical Provider: MMT Tasarım
Stage Fabric Provider: Showtex

Special thanks to

Costume Designer: Canan Göknil
Performers: Show34

The post UN World Humanitarian Summit Istanbul 2016 appeared first on Video Mapping Blog.

CEV EuroVolley 2019 W Opening Ceremony Show

Open your eyes. See what is around. Feel what is inside.

Look. The world is built upon faith. Do believe in yourself. It’s in your nature.

Don’t forget. As you are made of earth, you may also rise and shine like a star.

Find out. The secret of success is carved in the endurance of a rock.

Extend a hand. Respecting the other is nothing but enrichment of your soul.

And connect. Find a way to open yourself to the world.

Don’t forget. It’s all in your nature. The world around you is all inside.

//

Aç gözlerini. Etrafını gör. İçindekini hisset.

Bak. Dünya inanç üzerine kurulu. Kendine inan. Bu doğanda var.

Unutma. Topraktan aldığın güçle, bir yıldız gibi yükselebilir ve parlayabilirsin.

Anla. Başarının sırrı bir kayanın dayanıklılığına oyulmuştur.

Elini uzat. Başkasına saygı duymak ruhunun zenginliğidir.

Ve bağlan. Kendini dünyaya açmanın bir yolunu bul.

Unutma. Tüm bunlar doğanda var. Etrafındaki dünya aslında içinde.


CREDITS:

CEV / TVF

Organization By SportnSports Marketing

Content & Production Design By Illusionist

Executive Direction: Ahmet GÜRBÜZ

Creative Direction: Serdar KORKMAZ

Content Creation: Emre BARCA & Egemen TOKAT

Project Coordination: Tuğçe DEĞİRMENCİ

Choreography: CAN GÖKDOĞAN

Scenography Specialist: Çisil OĞUZ

Copywriter: Güney ONGUN

Multimedia Coordination: Selay KARASU

Lead Compositing Artist: Furkan ALABAŞ

Compositing Artist: Tolga BOSTANCI

CG Artist:
Kutbettin ECEVİT
Selçuk KAYA
Taha Celal YILDIRIM
Pırıl SİLİ
Oğuz ÖZPAMUK
Yasin SINIK

Illustration:
Beren TEKİN
Serhan GÜNEŞ

Sound Design / Composer:
İbrahim ÖZMEN

Technical Design / Planning / Management:
Sedat GÜNDÜZ

Light & Kinetic Sculpture Design:
Adilcan ALUÇ

Interaction Design:
Mustafa YILMAZ

Performer:
Elif KORKMAZ

Visual Systems & Projection Technology By DISPLAY TEAM

Mahmut GÜRBÜZ
İlker Kerem ÜSTÜNDAĞ

The post CEV EuroVolley 2019 W Opening Ceremony Show appeared first on Video Mapping Blog.

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