And we thought of this story, how it would evolve. So a cool part of my job for this was to actually develop a storyboard with the director. So what you see here is a 3D render with interactive content, which is the wires and the silhouette of the musicians. And I'm going to show you how I did build these hands that seem to control the musicians on-stage. But let's get down to business and I'm going to talk to you about one of the pieces that I created for this show, which is called The Handler. Which was a really great way to use the actual fabric that was on-stage to give this impression of presence that comes in and out that kind of has this creepy feeling. This is another way we used this 3D scan of the model to create these faces and hands and shapes appearing through fabric. We shot this model and suspended her in the air using the 3D as well as the shot to composite this piece where she becomes decomposed in the air. Had this model in various forms throughout the show. We also used a real-life model that was also present during the entire show as this androgynous figure that was dominating the entire stage, and kind of taking over and being the leader of the performance.

We have also a lot of other interactive features in that show like face detection, other types of face detection like this. This is a first test of what I'm going to show later is the Kinect- detected silhouettes that will then be controlled by these Mocap hands that I will demonstrate a bit later.

We even had the access to these drones that were flying around the stage and were also controlled by a 3D pattern that was pre-programmed during the show. Give us a feel of how the transparent material will look and how the ratio to the musicians on stage will look like. We also do maquettes to be able to test out our content, so that's a really interesting way to approach our production is that, until we finally get there on-site, we cannot really know how it will look, so it's really useful to create these little maquettes. This is the projection study that shows you that we are projecting from both sides in a 360 stage, showing visuals exactly the same way from one side to the other. So this is a stage design that's made out of tons of panels of semi-transparent fabric. First up, I'm going to put you in context and explain the amazing complexity and the canvas that we've been working with. What I'll be talking about today is the Muse Drones Tour that we created in 2015 and has been touring for two years. We do a lot of visual compositions, with not only creating the visuals, but also the immersion and sometimes even robotics. From small motion design to complex VFX work and even to control our robots and such. This is a gorgeous package that brings a sonic soup of Mediterranean flavoured ramen direct to the dance floor.So we use Cinema 4D for a lot of our productions. The dub is that bit slower, more spacious and even more majestic thanks to the room the keys have to breathe, while the remix dub is the blissed-out and heavenly of the lot. It's a timeless tune that nods to the past while looking to the future. Following a CD-only release in his native Japan in 2021, downtempo maestro Calm will release his Before album on vinyl for the first time via Hell Yeah this summer.īut first is this Mellow Mellow Acid Remix, a seven-minute workout with serene synth strings bringing scale, clean chords evoking memories of the sea and the bassline making sure dance floors bounce. Now it gets served up as a single of its own, backed with a superb dub version.ĪLFOS man and chugging disco don Sean Johnston has made this tune a staple of his recent sets because it always delivers the goods. Calm's Mellow Mellow Acid Remix of Gallo's 'Abysso' was one of the standout singles on last year's Buena Onda compilation on Hell Yeah.

Mellow outro c4d download