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SIGGRAPH 2022 : Pixar, Epic Games, mocap, VFX… Retrouvez toutes nos interviews vidéo !

Par : Shadows

Cet été, l’équipe 3DVF était au SIGGRAPH, le plus gros salon mondial sur la 3D et l’infographie en général. Nous en avons proposé pour interviewer différentes entreprises et studios. Toutes nos vidéos de l’évènement sont désormais en ligne, voici donc un récapitulatif afin que vous puissiez découvrir les vidéos que vous auriez manquées !
Les vidéos sont chapitrées, vous trouverez sous chacune d’entre elles le timing des différents sujets évoqués.

Et au passage, n’hésitez pas à vous abonner à notre chaîne Youtube.

Epic Games : quel avenir pour le metaverse et USD ?

Marc Petit, Vice-Président en charge de l’écosystème Unreal Engine chez Epic Games, nous a donné sa vision du chemin parcours par Unreal Engine depuis 2017, avant d’évoquer le fameux metaverse : quelle vision de ce futur ? Qu’apporte-t-il ? Pourquoi le format USD (Universal Scene Description) est-il sur toutes les lèvres au SIGGRAPH 2022, et quels défis seront à relever ? Enfin, il a évoqué avec nous la manière dont Epic gère les rachats d’entreprises et technologies : quels sont les enjeux pour que cette croissance externe se passe au mieux et ne débouche pas sur la mort d’un produit prometteur ?

0:00 – Introduction & chemin parcouru
0:35 – Annonces au SIGGRAPH ?
1:07 – Metaverse
2:02 – USD : vers un standard unique ?
2:40 – SIGGRAPH & metaverse
2:56 – gestion des rachats externes

Pixar : cap sur USD et RenderMan 25

Nous avons pu échanger avec Steve May, CTO de Pixar, pour discuter des dernières améliorations de RenderMan (nouveau denoiser, XPU), de la manière dont Pixar transforme la recherche en fonctionnalités utilisables par les clients RenderMan. Nous avons aussi abordé USD: est-ce vraiment la clé du Metaverse, comme l’affirment des entreprises comme Epic Games et NVIDIA? USD est-il prêt pour ce rôle, quel chemin reste-t-il à parcourir? Et comment Pixar et d’autres entreprises peuvent-elles travailler ensemble pour l’améliorer ?
Steve May nous a aussi donné sa vision de NVIDIA Omniverse, et nous a expliqué comment l’équipe Pixar exploite les innovations présentées au SIGGRAPH.

00:00 – Intro
01:44 – nouveau denoiser dans RenderMan
02:12 – Du projet de recherche à la sortie dans RenderMan
02:48 – XPU remplacera RIS
04:09 – USD, clé du Metaverse?
04:46 – créer un film Pixar se rapproche du Metaverse
05:41 – calques USD
06:38 – Limitations de USD?
07:44 – Contributions externes
08:29 – Une équipe USD renforcée
09:03 – Omniverse chez Pixar?
10:28 – SIGGRAPH 2022 – bilan
11:56 – Adoption de nouvelles technologies

Autre rencontre : Dylan Sisson, de l’équipe marketing des studios Pixar. Il présente régulièrement les conférences des studios Pixar sur RenderMan, sur des évènements comme le Festival d’Annecy et le SIGGRAPH. Il nous présente la future version 25 du moteur de rendu, et ses principales améliorations.

00:00 – Intro
00:14 – RenderMan 25
00:25 – nouveau denoiser par IA
00:55 – nouveaux looks, rendu stylisé
01:42 – Mises à jour XPU
02:24 – Version non-commerciale
02:50 – Avis sur NVIDIA Omniverse ?

Hypertec : un bain pour votre matériel

L’équipe d’Hypertec nous a fait découvrir ses solutions de travail distant, de cloud mais aussi et surtout ses technologie de refroidissement par immersion, que l’entreprise présente comme un moyen de rendre le secteur Media & Entertainment plus durable.

00:00 – Introduction
01:14 – Refroidissement par immersion
02:01 – Pourquoi SIGGRAPH?
02:42 – Consommation énergétique
03:27 – « On peut appliquer ce que l’on promeut »
03:41 – Pourquoi Hypertec?
04:16 – « Des économies tout en étant durable »

D’Alien Resurrection à L’Age de Glace, rencontre avec Steve Talkowski

Nous avons pu interviewer Steve Talkowski et revenir sur 35 années de carrière. Il a évoqué pour nous l’aube de l’industrie de l’animation 3D et des effets visuels, SIGGRAPH dans les années 80, la naissance des studios Blue Sky. Il a évoqué son travail sur des films comme « Bienvenue chez Joe » (1996), « Alien : La Résurrection » (1997), « L’Age de Glace » (2002). Il a aussi abordé l’utilisation des outils de l’époque, comme Softimage, et donné des conseils pour les jeunes artistes.

00:00 – Intro
00:32 – Débuts
02:23 – Rhonda Graphics
02:48 – SIGGRAPH 1987, Pixar
03:54 – Blue Sky
04:34 – Origines de Blue Sky: « Tron »
05:06 – « Bienvenue chez Joe » et ses cafards numériques
05:17 – Softimage
07:06 – « Alien : La Résurrection »
08:50 – Court-métrage « Bunny »
09:57 – Croissance du studio pour « L’Age de Glace »
10:44 – Layout sur « L’Age de Glace »
12:11 – licenciements chez Blue Sky
13:04 – Hornet
13:22 – freelancing, Sketchbot
13:38 – SIGGRAPH 2022
14:03 – astuces, Blender, UE

RISE : USD et coulisses de Matrix Resurrections

L’équipe du studio RISE a échangé avec nous sur leur adoption de USD et leur travail sur Matrix Resurrection, The Last Voyage of Demeter.
(la qualité de la captation sonore est perfectible, n’hésitez pas à activer les sous-titres, disponibles en français et anglais).

00:00 – Intro
00:13 – Pipeline USD Pipeline: raisons, Solaris/Houdini
01:48 – déploiement et réactions des artistes
04:03 – NVIDIA Omniverse chez RISE?
05:01 – AI, deep learning chez RISE ?
05:53 – Futur de USD?
06:48 – USD: conseils aux studios?
08:10 – USD & workflows VFX
09:04 – Matrix Resurrections
09:37 – Inspiration de Matrix I, II, III
10:07 – ville, drone
10:56 – Slow-motion & retiming
11:31 – Sati/Construct
12:07 – remplacement de visage/Lola/échange d’assets
12:38 – The Last Voyage of The Demeter
13:03 – distanciel vs hybride
15:05 – SIGGRAPH 2022

La motion capture, un secteur en mouvement

StretchSense nous a présenté leur solution de motion capture de mains et doigts: gants MoCap pro, pipeline dédié avec le Hand Engine, intégration avec des solutions tierces comme Unity, Unreal Engine, Xsense, Vicon.

La société danoise Rokoko présentait ses solutions de motion capture. Jakob Balslev, fondateur et dirigeant, nous a dévoilé les dernières annonces de l’entreprise et ce que Rokoko prépare pour l’avenir. Il a aussi donné des chiffres et informations sur les utilisateurs de Rokoko, évoqué une possible intégration NVIDIA Omniverse, expliqué en quoi 2022 était « l’année de la motion capture » pour SIGGRAPH. Enfin, il a évoqué les nouvelles solutions de mocap par vision informatique, sans marqueurs, qui font leur apparition : des outils reposant sur l’IA comme Plask.ai et Skinetix.

00:00 – 3 axes
00:30 – Technologies: IMUs / EMF
01:04 – Annonce !
01:17 – Avenir de la bibliothèque
01:53 – Clients
02:39 – NVIDIA Omniverse?
03:07 – SIGGRAPH
03:26 – « L’année de la motion capture »
03:52 – Mocap par caméra, sans marqueurs

Intel : ARC Pro, IA, rendu

Enfin, nous avons discuté avec Intel de leurs dernières annonces, technologies et partenariats, des GPUs ARC Pro au rendu et au denoising en passant par la VR ou l’IA.

00:00 – Introduction
00:14 – Pourquoi des cartes graphiques?
00:30 – Annonce ARC Pro
00:45 – Denoising, rendu, augmentation de résolution…
01:40 – VR: First Man, Le Musk
02:10 – Stratégie pour les GPUs

L’article SIGGRAPH 2022 : Pixar, Epic Games, mocap, VFX… Retrouvez toutes nos interviews vidéo ! est apparu en premier sur 3DVF.

How Space Works in Adobe After Effects (for Beginners)

Working with the concept of space in After Effects is tricky. In this video tutorial, we break it down to terms a beginner can understand.

StretchSense, la motion capture au bout des doigts – SIGGRAPH 2022

Par : Shadows

Au SIGGRAPH 2022, StretchSense nous a présenté leur solution de motion capture de mains et doigts: gants MoCap pro, pipeline dédié avec le Hand Engine, intégration avec des solutions tierces comme Unity, Unreal Engine, Xsense, Vicon.

Une solution à découvrir dans notre nouvelle vidéo ; n’hésitez d’ailleurs pas à vous abonner à notre chaîne Youtube!

L’article StretchSense, la motion capture au bout des doigts – SIGGRAPH 2022 est apparu en premier sur 3DVF.

L’année de la motion capture au SIGGRAPH: Rokoko nous dévoile ses annonces !

Par : Shadows

La motion capture était un sujet phare du SIGGRAPH 2022, qui se tenait début août à Vancouver.
De nombreuses entreprises avaient fait le déplacement, comme la startup française Kinetix que nous avions interviewée avant le salon, mais aussi comme Rokoko, entreprise danoise spécialisée dans la motion capture abordable.
Ici, pas de systèmes se chiffrant en dizaines, centaines de milliers d’euros. Pas non plus d’installation complexe : selon le produit, il suffit d’enfiler une combinaison, des gants, d’allumer son iPhone… Ou de télécharger des données !

Jakob Balslev, fondateur et dirigeant, nous a dévoilé les dernières annonces de l’entreprise et ce que Rokoko prépare pour l’avenir. Egalement au menu, des chiffres concrèts sur le marché, ou encore l’émergence de la motion capture avec une caméra unique.
Des sous-titres français et anglais sont disponibles, et vous trouverez le sommaire sous la vidéo.

Nous en profitons également pour vous inviter à vous abonner à notre chaîne Youtube si ce n’est pas déjà fait.

00:00 – 3 axes pour Rokoko
00:30 – Technologies: IMUs / EMF
01:04 – Annonce !
01:17 – Avenir de la bibliothèque
01:53 – Clients
02:39 – NVIDIA Omniverse : avis, intégration ?
03:07 – SIGGRAPH 2022
03:26 – « L’année de la motion capture »
03:52 – Mocap par caméra, sans marqueurs : l’avenir ?

Pour en savoir plus :

L’article L’année de la motion capture au SIGGRAPH: Rokoko nous dévoile ses annonces ! est apparu en premier sur 3DVF.

MRMC Showcases Motion Control Robotics and Broadcast Solutions at IBC2022

August 17, 2022 Mark Roberts Motion Control (MRMC), a Nikon company, will showcase its range of motion control robotics and control software, as well as industry-leading broadcast solutions at IBC2022 in Amsterdam (September 9-12) – the global crossroads event of the media, entertainment, and technology industries. MRMC’s gold standard motion control robotics and Flair software […]

The post MRMC Showcases Motion Control Robotics and Broadcast Solutions at IBC2022 appeared first on Broadcast Beat.

OptiTrack to Preview Motive 3.1 at SIGGRAPH 2022

At SIGGRAPH 2022, 3D tracking systems provider OptiTrack will preview Motive 3.1, the latest iteration of its robust motion tracking software featuring ‘Trained Marketsets.’ With the new feature, OptiTrack systems will enable users to track flexible and dynamic objects beyond biped skeletons, such as quadrupeds, fabric, ropes, and even trampolines, and do so with industry-leading […]

The post OptiTrack to Preview Motive 3.1 at SIGGRAPH 2022 appeared first on Broadcast Beat.

@eloifevrier « CORONS » Juste avant le coup de grisou ! Projet...



@eloifevrier « CORONS »

Juste avant le coup de grisou !

Projet en vidéo mapping dans l’Église de Saint-Amé à Liévin (3/3)

Musique : Géraldine Kwik

#videomapping #saintebarbe #mapping #motiondesign #animation2d #animation #liévin #motiongraphics #corons #grisou #abstract #illustration #photoshop #aftereffects #motion #mdcommunity #motionmate #immersion #millumin
https://www.instagram.com/p/Ce_oLtrKxoA/?igshid=NGJjMDIxMWI=

@geraldinekwikmusic 🎬🎧 👉 (Part4/6) Video mapping festival #4 -...



@geraldinekwikmusic 🎬🎧 👉 (Part4/6) Video mapping festival #4 - Abstracoal, Arenberg creative mine, Wallers - octobre 2021 - @arenberg.creative.mine

Supervision média / Supervision
Hamza MRABET - @hamzamrabet
Animation / Visual design
Léa MINIGGIO
Hamza MRABET
César PAYRAT
Adrien TISON @acarien_triton
Musique originale / Original music
Géraldine KWIK

#videomapping #mapping #art #music #digitalart #mine #arenberg #videomappingshow #millumin #christiedigitalprojection #projectionmapping #composingmusic #composer #musicforpainting #electro #ambient #glitch #immersif #cinematic #glitchart #experimentalmusic #animation #animation3d #blender #blender3D #motion #motiondesign #digitalartwork #digitalartist

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PRODUCTION / PRODUCTION
Rencontres Audiovisuelles
https://www.instagram.com/tv/Ce_dmzaK2cE/?igshid=NGJjMDIxMWI=

Frankelda’s Book of Spooks : tremblez face à la stop-motion mexicaine ! [Annecy 2022]

Par : Shadows
Temps de lecture : < 1 minute

A l’occasion du Festival d’Annecy, nous avons pour échanger avec l’équipe derrière la plus longue production en stop-motion du Mexique : Frankelda’s Book of Spooks, une série horrifique destinée au jeune public.

Avec ses 5 épisodes de 13 minutes environ, elle représente un travail d’autant plus colossal qu’il s’agit d’une série d’anthologie, à la manière des Contes de la Crypte ou de Chair de Poule : les décors et personnages changent à chaque épisode, et il a donc fallu créer et animer tout un bestiaire.
Un projet porté par Cinema Fantasma en collaboration avec Darkframe Digital.

Voici notre interview en compagnie de Roy Ambriz (co-réalisateur) et Marta Hernaiz (productrice). Le duo nous présente également Ballad of the Phoenix, projet de long-métrage en stop-motion, et évoque le secteur de la stop-motion au Mexique.
Avec en prime des images de ces deux projets, et un aperçu du fonctionnement de la marionette de Frankelda !

L’interview est en anglais ; des sous-titres français sont disponibles et peuvent être activés/désactivés via l’interface Youtube.

Crédits et informations :

Created by the Ambriz Brothers
Written, directed and produced by Arturo & Roy Ambriz
Executive Producers: Rodolfo Ambriz Avelar, Adriana Rendón
Animation Director: Beto Petiches
Director of Photography: Irene Melis
Art Director: Ana Coronilla
Original music and songs: Kevin Smithers
Starring: Mireya Mendoza, Arturo Mercado Jr., Luis Leonardo Suárez
Length: 5 episodes of 14 minutes each
Country of origin: Mexico
Original language: Spanish

L’article Frankelda’s Book of Spooks : tremblez face à la stop-motion mexicaine ! [Annecy 2022] est apparu en premier sur 3DVF.

@kennyvisualnaries Thanks @danceensemblesingapore and @shijicai...



@kennyvisualnaries Thanks @danceensemblesingapore and @shijicai for this opportunity to create visuals and exploring holographic projection for Mystique 奇迹:最终勇者追踪. Thanks @azpangesti @nickteokx for your creative work .. Ops team @hoirwin @ianpereirah @sjing05 @ranvierion for a smooth show run and @jonshihq @danielseehx for the pre production shoot and prep work … 🙏 lastly @lam.zen and his son for coming to the show , thanks for your kind words.
#contentcreation #multimediadirector #creative #holographicprojection #holographic #hologramart #holographicdance #motiontracking #visualart #avshow #traditionalchinesedance #projectionmappingart #projection_mapping_world #projectionart #millumin #panasoniclaserprojector #holomesh #hologrix
https://www.instagram.com/p/CdIHiwRKu-z/?igshid=NGJjMDIxMWI=

Industry Veteran Crystal Pham Joins TPN at Critical Stage in Program’s Growth

LOS ANGELES – The Motion Picture Association’s film and television content security program, the Trusted Partner Network (TPN), today announced the appointment of Crystal Pham to the role of Vice President, Operations and Product Management. Pham will report to TPN President Terri Davies. Pham will work closely with Davies to enhance the operational experience of ...

The post Industry Veteran Crystal Pham Joins TPN at Critical Stage in Program’s Growth appeared first on Broadcast Beat - Broadcast, Motion Picture & Post Production Industry News and Information.

9 FREE After Effects Templates

These templates include hundreds of free elements to use in any project. Combine for even more options, and some you can use in any NLE!

2022 Academy of Country Music Awards puts Motion Impossible’s AGITO to work

March 22, 2022 For the 2022 Academy of Country Music Awards (ACM Awards), director Glenn Weiss, who recently used two Motion Impossible AGITO modular remote dolly systems on the American Music Awards, decided that four AGITO systems would be exactly what he needed for the live and on-demand Amazon Prime production. The ACM Awards officially ...

The post 2022 Academy of Country Music Awards puts Motion Impossible’s AGITO to work appeared first on Broadcast Beat - Broadcast, Motion Picture & Post Production Industry News and Information.

Maxon Spotlights Major Acquisitions at NAB 2022

Friedrichsdorf, Germany – March 22, 2022 – Maxon, developer of professional 3D software solutions, is pleased to announce they will be showing their entire selection of 3D modeling, VFX, animation, and rendering tools in-person at this year’s NAB Show. With a slew of acquisitions under their belt since the last in-person event in 2019–including the blazingly ...

The post Maxon Spotlights Major Acquisitions at NAB 2022 appeared first on Broadcast Beat - Broadcast, Motion Picture & Post Production Industry News and Information.

Former Career Achievement Winners to Present 69th Annual MPSE Golden Reel Awards

International virtual ceremony slated for March 13th. Studio City, California— The Motion Picture Sound Editors (MPSE) will draw on the most accomplished sound artists of its past in celebrating the best in sound editing of the present at the 69th Annual MPSE Golden Reel Awards. Five past recipients of the MPSE’s Career Achievement Award will ...

The post Former Career Achievement Winners to Present 69th Annual MPSE Golden Reel Awards appeared first on Broadcast Beat - Broadcast, Motion Picture & Post Production Industry News and Information.

Maxon Announces 2022 Events Lineup

2022 Promises an Eventful Year for Maxon Users with In-Depth Guides into Newly Acquired ZBrush Tools, a Return to In-Person Events, and More!    Friedrichsdorf, Germany – March 2, 2022 – Maxon has announced today their comprehensive offering of 3D, VFX and motion design events for their community of users for 2022. The annual schedule ...

The post Maxon Announces 2022 Events Lineup appeared first on Broadcast Beat - Broadcast, Motion Picture & Post Production Industry News and Information.

Universe 5.1 Now Available

Update adds support for M1-powered Macs, fixes bugs and puts Universe on a new, future proof foundation. Friedrichsdorf, Germany – February 15, 2022 – Maxon, developer of professional 3D software solutions, is pleased to announce the immediate availability of Universe 5.1., a new update to its suite of video transition and effects plugins.  This new ...

The post Universe 5.1 Now Available appeared first on Broadcast Beat - Broadcast, Motion Picture & Post Production Industry News and Information.

MRMC continues broadcast expansion with key new hires

Mark Roberts Motion Control (MRMC), a Nikon company, is pleased to announce that two key new executives are joining the company to help continue its track record of growth and expansion in the broadcast market into 2022 & beyond. Amanda Dixon joins as Broadcast Marketing Manager and Karl Hillcoat-Williams joins as Broadcast Customer Support Manager. ...

The post MRMC continues broadcast expansion with key new hires appeared first on Broadcast Beat - Broadcast, Motion Picture & Post Production Industry News and Information.

It’s Official! ZBrush is Now Part of the Maxon Family

Regulatory Requirements Satisfied, New Partnership Amplifies Innovative and Creative Possibilities, Enhanced Portfolio Provides Maxon Huge DCC and Emerging Metaverse Market Potential FRIEDRICHSDORF, Germany – January 11, 2022 – Maxon, developer of professional 3D software solutions, is pleased to announce the completion of all financial and regulatory requirements for the acquisition of all assets of Pixologic, ...

The post It’s Official! ZBrush is Now Part of the Maxon Family appeared first on Broadcast Beat - Broadcast, Motion Picture & Post Production Industry News and Information.

Motion Picture Sound Editors to Honor Ron Howard with Filmmaker Award

69th MPSE Golden Reel Awards to be held as a global, virtual event on March 13th Studio City, California – The Motion Picture Sound Editors (MPSE) today announce that it will honor Ron Howard with its annual Filmmaker Award. The Academy Award-winning director and producer is responsible for some of the most memorable films of ...

The post Motion Picture Sound Editors to Honor Ron Howard with Filmmaker Award appeared first on Broadcast Beat - Broadcast, Motion Picture & Post Production Industry News and Information.

@geraldinekwikmusic Watch the new mapping from the Etam brand on...



@geraldinekwikmusic Watch the new mapping from the Etam brand on their office with my original music + visual by @_aurelien.w and eloifevrier // LoomProd.
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#etam #videomapping #mapping  #motiondesign #animation #animation2d #millumin #aftereffects #photoshop #noel #streetart #originalmusic #frenchcomposer #abletonlive #musicforpaintings #movingimage #digitalartist #night
https://www.instagram.com/p/CRW1FADqbUf/?utm_medium=tumblr

@adlibcreations Digital Spaces. Célébration des 10 ans du centre...



@adlibcreations Digital Spaces. Célébration des 10 ans du centre de recherche INRIA Bordeaux Sud Ouest, le 22 septembre 2018. Carte blanche à Ad Lib Creations pour la scénographie de l'édifice. #inria #adlibcreations #mapping #3dmapping #motiondesigner #digitalart #barco #millumin #sharpy #christiangimat #motionfx #modelisation #building #bordeaux #talence #nouvelleaquitaine #visualart #inriabordeaux
https://www.instagram.com/p/CPLRKVJKDf7/?utm_medium=tumblr

@pluxstudio Videomapping homenajeando a todos los involucrados...



@pluxstudio Videomapping homenajeando a todos los involucrados en esta lucha Vs COVID 19. #Videomapping #millumin #Covid19 #video #motiongraphics #motiondesign #lights #EPSON @millumin2 @epsonlatinoamerica @google @comir_mexico @sectur_mx @visitmexico @gobnau @cdmx_oficial @cdmxtraveloficial @reforma @televisa
https://www.instagram.com/p/CLb55C1Kqin/?igshid=h25wh41i1dwc

@almoghamdi פרוייקט משותף עם האחד והיחיד @dordro ! כחלק...



@almoghamdi פרוייקט משותף עם האחד והיחיד @dordro !
כחלק מפרוייקט בקורס ברודקאסט ושיתוף פעולה עם עיריית חיפה - יצרנו סרטון אנימציה בטכניקת video mapping שמשודר על מייצג אותיות היושב במושבה הגרמנית.
תודה מיוחד ל @guydavidov על הסאונד המטורף !

עיצוב ואנימציה :
@almoghamdi
@dordro
הפקה מוזיקלית :
@guydavidov
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#framebyframe #2danimation #digitalanimation #animationart #roughanimator #roughanimation #roughanimatorapp #motionart #celanimation #motionmate #motionmass #projectionmapping #projection #new_media_art #projectionart #mappingprojection #mapping #sculpturemapping #haifa #ilovehaifa #typemapping #lettermapping #millumin #installationart #visualart #phormatik #newmedia #monumentalmapping #livevisuals *#projection_mapping_world
https://www.instagram.com/p/CLHPkMAKoHy/?igshid=z61uz7f5ndqr

@eloifevrier Extrait d’un vidéo mapping pour les fêtes de fin...



@eloifevrier Extrait d’un vidéo mapping pour les fêtes de fin d’années, pour le groupe « Etam ».

Avec @_aurelien.w
Musique : Géraldine Kwik

#videomapping #motiondesign #animation #animation2d #millumin #aftereffects #photoshop #etam #noel
https://www.instagram.com/p/CKGrDg3qryN/?igshid=112a8kwd1nv10

@_aurelien.w Création Originale : VideoMapping sur l’ancien...



@_aurelien.w Création Originale : VideoMapping sur l’ancien site tertiaire Etam.
Fresque poétique évoquant l’art de la filature et la saison hivernale.

Création & Animation :
@_aurelien.w
&
@eloifevrier

#videomapping #projectionvideo #millumin #christiedigital #illustrator #Etam #etamlingerie #Mouvaux #Lille #lilledesign #rencontresaudiovisuelles #LoomProd #motiondesign #creationoriginale #mapping #fresquemapping
https://www.instagram.com/p/CJRBSx9qNV0/?igshid=gmikmpgi5cet

Interview to Paco Gramaje

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

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

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

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

It all begun in 2009. After quitting my job as an engineer I moved to Madrid to study a Master in Motion Graphics while making my first experiences in the world of video art. 

In 2010 I started up several collaborations with art organizations in Madrid and they proposed to me to shoot a dance performance by the choreographer Iratche Ansa.

The performance was going to be held at the Matadero in Madrid. From that recording I put together my first video dance “Comunicación Interpretación Automática” which had a very good reception.

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

A few months later I made my first dance pieces with live visuals with choreographer Barbara Fritsche.

Thanks to those projects I was able to work on the musical “Hoy No Me Puedo Levantar” in 2013. In 2014 I directed my first proper theatre show: “Girasomnis”.

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

I try to “connect” the visuals with the dancers. Sometimes I encourage the dancers to “connect” or follow my visuals.

In this project I also composed the music. This is very useful as I have better control of the creative process. With this project I tried to evoke feelings in the audience without words: just images, dance and instrumental music.

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

This quarantine caused an abrupt stop in my job, but also gave me time to start imagining something new.

The idea was born during the first week of confinement. At the start, It was simple: I just wanted to publish some of our best projects and make them public. But I also felt a need for a change.

The last 3 years I was quite disconnected from my artistic side due to working mostly on commercial projects. 

I was just focusing on making money to pay my bills and trying to have a stable team for audiovisual production. The outbreak of the Covid-19  has been an absolute shift in our work. We started questioning the possibility of doing our shows as we did before.

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

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

So, in April I started to visualize and write a synopsis of this new project. I then decided to publish “Dance Mapping Virtual Tour 2020” as a memorandum of all these years of physical shows. 

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

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

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

When I have the budget I can work with some powerful audiovisual freelancers from my network of collaborators. Failing that I work alone.

I also work with very talented dancers/choreographers from Barcelona. During the years they started to understand my ideas and transform them in beautiful choreographies. 

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

I have mostly 2 ways of work. I compose a music draft and then I work on the visuals and choreography or vice versa: I make a draft of visual content with a draft choreography and I try to match the sounds and music.

Sometimes I give leeway to the dancer, so they can create their own choreography and then I create the visual content following their movements.

In the last few years I also worked with some talented musicians for a faster audiovisual production.

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

This was a concept from Roman Torre. In 2015 I shared a space with him and we collaborated together on a video mapping of a rotating stone. It was a nice project called Liquid Series.

In the video mapping area I also tried to develop innovative concepts, differing from the typical big projection on a building facade. 2 Years ago I started to develop the concept of “Holomapping”. I am planning to finish it next year as well.

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


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

Nowadays, it is possible to learn a lot following digital online courses, but it is always better if somebody guides you. As with everything in life the best way to learn is practice, making mistakes and improving. 

Spain is not the best country for arts, I would say. As far as I know French artists or from other European countries have more grants and support from their governments, but everything is possible if you are passionate about your work.

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Cosmic Lab

Par : Marco Savo

Cosmic Lab is a multimedia studio formed by audiovisual artists and creators based in Osaka, Japan.

They combine art and technology to develop powerfully immersive audiovisual experiences.

We discovered this amazing collective thanks to ADAF 2020 and we fell in love straight away.

Cosmic Lab possibly represent the archetype of the audiovisual artist, rooted in the art world and the underground clubbing scene.

As many Japanese new media artists they are not afraid of experimenting and mixing up techniques and styles. As far is it’s punchy, alluring and visually stunning they will use it in their performances.

From immersive VJ sets to operatic projection mapping, from AV live graffiti to cutting-edge interactive installations. Cosmic Lab always achieves to captivate the audience and mind-blow even the more AV experts.

Here our top picks from their impressive portfolio of audiovisual projects:

Live Paint Showcase: “Magnetic”

Cosmic Lab - Audiovisual artists

As we said: no fear of experimenting. Here we see a very interesting fusion between hip hop and audiovisual culture.

At the opening event of MAGNET by SHIBUYA 109 “ShibuGekiSai”, Cosmic Lab and Doppel collaborated on a performance combining live painting and video projection.

The 3D video cubes are animated in motion graphics by the audiovisual artists guiding the graffiti artists on the patterns they will fill with their spray cans.

The DJ spins tunes throughout the performance linking graffiti and projection through the overall hip hop groove.

Buddhist Chant and Light Performance

An audiovisual feast and a once-in-a-lifetime experience to celebrate the Koyasan’s 1200th anniversary (The center of Shingon Buddhism).

We see something truly remarkable and unique: a fusion among the vibrating tones of the Buddhist chant, Japanese drums and an elaborate projection mapping.

Under the musical inputs and the AV latest technologies the great Pagoda comes alive. The result is spectacular, mesmerizing and sumptuous to honor the ancient tradition of Japanese Buddhism.

QUASAR

Here Cosmic Lab went a few steps ahead by reinventing the way of making AV live performances through a new tool called QUASAR.

It loosely reminded us of the Reactable Machine, developed in Barcelona in 2003 to make music through physical interaction.

In this next-generation AV instrument, each musical measure is not interpreted in a linear fashion, but as an endless loop.

Also the tangible interface gives a physical structure to the AV content making possible to build rhythm and layers in all new intuitive physical way. Impressive!

Cosmic Lab - Audiovisual artists

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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.

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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

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