#CFC Media Lab

[i-shashi]

Coronavirus caused lockdown in India

“A mistake in China took the lives of millions”

What is the truth about China’s Novel Coronavirus?

The news of coronavirus has scared the world. It is such a contagious disease that when in contact with each other, it catches people very fast, and it is so deadly that whoever is exposed to it. It takes his life: Coronavirus caused lockdown in India -

Coronavirus — Coronavirus is related, it is a group of viruses that cause diseases in mammals and birds. And that in humans, coronaviruses cause respiratory tract infections that can be mild, such as some cases of the common cold (among other possible causes, mainly rhinoviruses), and others that can be fatal, such as SARS, Mars, and COVID-19. Characteristics differ in other species. In chickens, they cause an upper respiratory tract disease, whereas in cows and pigs they cause diarrhea. Humans have not yet been able to make vaccines or antiviral drugs to prevent or treat coronavirus infection.

It has been reported by Chinese scientists that a similar similarity was observed between Coronavirus and SARS virus. In 2002 and 2003, the SARS virus caused an epidemic. The SARS virus is spread by whipping or swinging. Even then, China did not allow people to reach the news of this deadly infectious SARS virus. And China repeated the same mistake once again. This time, instead of being told about the circumcision virus more than the SARS virus, he started hiding it again. But like all times, this time China could not hide this virus. Because this virus proved so much more dangerous than the earlier virus that it had killed so many people in a very short time. China was now finding it more difficult to hide it.

When, where and how the Coronavirus was born: — Since the first week of December 2019, it started spreading in the world, the coronavirus had already killed the people by this virus. Then in the last week of December, the number of patients increased to 7. Doctor Lee Welyang was the first patient to come to his hospital. Then Dr. Lee Welyang told about this virus through social media. But only a few days later, Dr. Lee died of this corona deadly virus. The Chinese government had told Doctor Li to keep this news a secret. But Doctor Lee knew that the virus is not like hiding from anyone. This virus is a very dangerous life-threatening virus.

China says about this, there is a lab in Wuhan, China. Where scientists of both China and Japanese countries work together. China used to be a biological weapon in that lab. Such news came. But the Chinese government has so far denied this, that it also works to make biological weapons.

China says about this, there is a lab in a city called Wuhan, China. Where the Chinese community government secretly used to work in that lab. China used to be a biological weapon in that lab. Such news came. But the Chinese government has so far denied this, that it also works to make biological weapons. Scientists at China’s lab in Wuhan say that they were doing research on deadly viruses such as Ebola, Nipah, and SARS. During the research itself, scientists could see the symptoms of coronavirus in their microscope. Such a virus was first seen in medical history. Looking at its genetic sequestration suggests that it may be close to bats.

(Such a doubt happened.)

China says that it spread from the fish market of Wuhan in China.

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What package has the Modi government implemented on the Corona crisis?

Coronavirus: The Modi government is working on an economic package to help people.

Finance Minister Nirmala Sitharaman said on Tuesday that the Narendra Modi government is working on an economic package to help the people. He said that the government is working on the package on priority and will announce it soon.

The finance minister made the revelation on the micro-blogging site, Twitter, while announcing that he would address the media this afternoon through video conferencing on statutory and regulatory compliance matters.

What effect did the atmosphere have on being down?

The public down in India had a huge impact on our environment. The moving world was spread with so much air pollution. That there was trouble in breathing. But for the last few days, there has been some purity in the air. Which is a very good thing. For the entire air system.

Human impact on Earth’s atmosphere -

Like children playing in the mud, humans have polluted the Earth’s environment and the environment in many ways. The Industrial Revolution made enormous progress in technology and development, but due to this air pollution and pollution continued in the air. Human impact on Earth’s atmosphere and climate remains a major issue in ecological politics today and presents a problem that can threaten the planet for years.

Greenhouse gases:

Greenhouse gases, such as carbon dioxide and methane, contribute to the greenhouse effect, creating heat in the atmosphere, which increases temperatures on the oceans and the planet. According to the US National Oceanic and Atmospheric Administration, carbon dioxide concentrations in the atmosphere have increased 38 percent since 1750, while methane concentrations have risen to 148 percent during the same period. Most scientists extend this to the widespread combustion of fossil fuels.

Ozone layer blasting:

The ozone layer, a protective covering of the atmosphere, helps block ultraviolet radiation. In May of 1985, scientists from the British Antarctic Survey found that some were destroying ozone molecules over Antarctica. The problem study traced the destruction of chlorofluorocarbons and other ozone-depleting chemicals, and in 1987, countries around the world signed the Montreal Protocol to discontinue the use of CFCs. CFCs include chemicals commonly found in aerosol sprays, refrigerants used in air conditioners, and blowing agents for foam and other packing materials.

Air pollution:

Humans also affect the environment locally through air pollution. Compounds released by fossil fuel splitting often form ozone molecules at the ground level. This puts people at risk of difficulty breathing and can cause lung damage with prolonged exposure. The EPA regularly publishes air quality control for the affected areas and advises those with difficulty breathing or environmental sensitivity where ozone concentrations are highest.

effect:

Even after banning some chemicals or clearing the air, it will take some time for the atmosphere to heal. Even though CFCs were banned in 1985, their viruses would persist in the environment for a long time. The British Antarctic Survey estimates that it may take 50 years for holes in the ozone layer to disappear, provided there is no new threat to ozone.

In the same way, the Earth’s ecosystem absorbs carbon dioxide from the atmosphere very slowly, meaning that stabilizing CO2 production levels may not be sufficient to even stop the major atmospheric liquid. Climate change studies on the intergovernmental panel show that even though humans cut carbon production levels by 50 percent, the Earth still showed a change in momentum in the next century due to a net increase in atmospheric carbon dioxide. Is giving Will give.

Also, read other posts for more information:

[mfadf]

Video from CURRENT: Digital Futures Graduate Exhibition 2017 where my thesis Habitual Instinct was awarded for best exhibited work.

[skyovereuropeldkde]

What Major Factor Causing "Climate Change" Are They Not Telling Us About?

More alarming articles and studies are surfacing each day which confirm the rapidly changing state of Earth's life support systems and climate. Humanity has decimated the planet in countless ways and the repurcussions are becoming catastrophic. Though there are certainly many parts to this unfolding story, the largest piece of the puzzle by far still goes completely unacknowledged by most of the scientific community and all of the main stream media/corporate/military/industrial complex. The massive elephant in the room has been, and still is, "stratospheric aerosol geoengineering" (SAG), AKA  "solar radiation management" (SRM).

What Is Stratospheric Aerosol Geoengineering And Why Is It So Dangerous?

Stratospheric aerosol geoengineering is a primary term for the ongoing global climate modification programs being conducted by major powers around the world. "Aerosols" is simply a term for a microscopic particle that is suspended in the air. A primary stated goal of the geoengineering programs is to provide a "solar shield" to slow "runaway climate change"  by spraying tens of millions of tons of highly toxic metal nano particulates (a nanometer is 1/1,000,000,000 of a meter) into the atmosphere from jet aircraft. Is the spraying only for solar radiation management? Based on available data, there are a number of known objectives including but not limited to SRM, weather warfare, over the horizon radar enhancement, controlling food production, and probable biological testing. There are likely many more aspects and agendas related to the atmospheric spraying which we can not yet know.

Global Weather Modification Assault Causing Climate Chaos And Environmental Catastrophe - Many Geoengineering Patents Have A Stated Goal Of Slowing Global Warming

Aluminum/alumina, among other toxic metals, is showing up in countless rain tests around the world. The amount of aluminum, barium, and other metals in these rain/snow tests is always high and often completely off the charts. Snow tests from Mt Shasta in Northern California were toxic beyond belief. This area of the Pacific Northwest was thought to be a pristine water source. Dozens of rain samples taken in this region from numerous individuals were tested at the State certified lab in Northern California and showed shocking results without exception. Former US Forest Service Biologist Francis Mangles has confirmed the alarming heavy metal contamination with his own testing. Snow tests taken from the side of Mt. Shasta showed aluminum content as high as 61,000 PPB. (parts per billion). This level of aluminum in the snow is tens of thousands of times anything that might be considered "normal background" contamination. Levels this high can only be considered extremely toxic. Since these toxic metals are in the snow, they can only come from the air. Aluminum/alumina in "free form" does not naturally exist in the environment but is always bonded to other elements. So where is it coming from?    Aluminum is the primary element named in numerous geoengineering patents. The same patents that describe dispersing this aluminum from jets for the expressed purpose of blocking the sun which is exactly what we see aircraft "trails" doing in our skies day in and day out, creating artificial cloud cover and haze which blocks direct sunlight. It is important to remember this contamination is not local, but global in scope. Movements have formed in countries all over the world which are desperately trying to address this dire issue.

Ozone layer damage is yet another known consequence of geoengineering the atmosphere. Other recent studies now note a "shrinking atmosphere" which is very possibly also linked to the ongoing geoengineering programs. The "hydrological cycle" of the planet is being completely disrupted by the geoengineering aerosol saturation of the atmosphere. Fungal proliferation is yet another inevitable crisis when the atmosphere is filled with particulates, soils are contaminated with the geoengineering fallout, and waters are polluted with the same. Already, countless species are feeling the effects. The current "species extinction rate" should be absolutely shocking to all. At the present time the "extinction rate is 10,000 times "natural variability". This is 1,000,000% of "normal background rates". Though main stream media would never discuss this, we are currently in the sixth mass extinction on planet Earth. Is geoengineering responsible for all of this? Of course not all, but if the available science and data is considered, geoengineering is likely by far the single  most significant cause of environmental and climate devastation on the planet today. If all available information is considered, geoengineering is the greatest and most immediate threat to all life on Earth short of nuclear catastrophe. Drought, deluge, and hazy toxic skies, welcome to geoengineering.

Global Dimming, The Loss Of Blue Skies

There is a mountain of scientific data to confirm the reality of "global dimming'. Most have never even heard the term much less noticed the effect over recent decades. Though articles from mainstream publications admit to the "global dimming" issue, most understate the percentage of dimming and all point the finger at "pollution particulates" as the sole cause. Countless jet aircraft which criss-cross our skies daily, dispersing millions of tons of toxic metal and chemical particulates, are completely ignored by all main stream media journalists and sources. To date main stream media has done its best to avoid even mentioning the subject of geoengineering much less admitting to these ongoing programs of total planetary devastation. The overall ramifications from global dimming and geoengineering cannot be accurately quantified. Loss of photo synthesis, destruction of the ozone layer, reduction in global rainfall, loss of blue sky, toxification of soils and waters, these are only a few of the known consequences of the global atmospheric spraying.

Greatly Diminished Atmospheric Protection From The Sun

What does this imply? As already documented above, saturating the atmosphere with particulates shreds the protective layers of the atmosphere, namely the ozone layer. Particulate saturation in the upper atmosphere causes a chemical reaction which does the damage. There is now a massive Northern hemisphere ozone hole in addition to the Southern Hemisphere hole we have all heard about for decades. Stratospheric aerosol geoengineering is in all likelihood the primary cause of the global ozone depletion, not just "CFC's" as we have been told.  Again, this has already been cited above and can be easily researched. Search "geoengineering is destroying the ozone layer". All available science makes this point clear. Without the ozone layer, life in any form would likely not exist on our planet. There is yet one more issue related to the destruction of our natural protection from the sun's usual radiation output: protection from solar flares. Coronal mass ejections or "CME's" can and will do horrific damage to our planet and most especially human infrastructure. If electricity grids are shut down due to a strong CME, the potential dangers are sobering indeed. With no grid power to cool nuclear power facilities for an extended time, we could face Fukushima x 100, or 200, or? Without cooling, meltdowns would eventually occur. Just one major nuclear catastrophe could exterminate life on the planet, let alone dozens or hundreds of them. Geoengineering is destroying our natural protection from such an event caused by a strong coronal mass ejection. Aerosol Saturated Skies ☢ ☠ ☢ 💉Sky Mess💉 ☢☠ ☢ Chemtrails 💨💨 ✈✈

[jobs-toronto]

Job Tweets Toronto

✨ Job Alert ✨ Fifth Wave Connect company Art Collision is looking for a Digital Content Assistant! @artgatevr is a digital marketing agency, specializing in strategy, content, design, and development for art businesses. Find out more and apply here: https://t.co/qC8eMJn2TK pic.twitter.com/YTUr5xw0tb

— CFC Media Lab (@cfcmedialab) June 11, 2020

via Twitter https://twitter.com/REAL_JOBS_YTO June 18, 2020 at 03:11AM

[aztecstyle1]

NFB, CFC Media Lab and the Ford Foundation launch VR doc lab OPEN IMMERSION II https://t.co/eheO69FAi1

NFB, CFC Media Lab and the Ford Foundation launch VR doc lab OPEN IMMERSION II https://t.co/eheO69FAi1

— aztecstyle (@aztecstyle1) October 27, 2019

https://platform.twitter.com/widgets.js from Twitter https://twitter.com/aztecstyle1

October 27, 2019 at 12:01PM via IFTTT

from WordPress https://aztecstyle.home.blog/2019/10/27/nfb-cfc-media-lab-and-the-ford-foundation-launch-vr-doc-lab-open-immersion-ii-https-t-co-eheo69fai1/ via IFTTT

[nativenewsonline]

NFB, CFC Media Lab and the Ford Foundation launch VR doc lab OPEN IMMERSION II

NFB, CFC Media Lab and the Ford Foundation launch VR doc lab OPEN IMMERSION II

Published October 27, 2019

An immersive VR lab and residency for Indigenous artists from across Turtle Island

TORONTO, Canada — The National Film Board of Canada (NFB), the Canadian Film Centre’s Media Lab (CFC Media Lab) and JustFilms | Ford Foundation have come together to launch OPEN IMMERSION II, a documentary VR lab for Indigenous creators. This project follows the success of the inaugural 

[byp2iopportunityhub-blog]

Job Opportunity

Post Production & Technical Coordinator - CFC Media

The Canadian Film Centre (CFC) is a charitable organization whose mission is to invest in and inspire the next generation of world-class Canadian content creators and entrepreneurs in the screen-based entertainment industry. A significant economic and cultural driver in Canada and beyond, CFC delivers a range of multi-disciplinary programs and initiatives in film, television, music, screen acting, and digital media, which provides industry collaborations, strategic partnerships, and business and marketplace opportunities for talent and participants.

Summary:

The position of Post Production & Technical Coordinator is a contract position (37.5 hours per week ) supporting multiple programs and productions at the CFC in an assistant editor/DMT/technical and post coordinator capacity.

This is a key position within our production and post team, as well as a significant contributor to ensuring a high level of quality and technical proficiency in post is delivered across our many programs.

Accountabilities/Responsibilities:

Creating and managing various project details and deliverables

Providing post and technical support to the editor’s lab and other disciplines, as it relates to editing and post-production

DMT services, media ingestion/transcoding, hard drive/camera card coordination, delivery and project organization

Technical support and regular edit system maintenance, including media backup protocols and audio/visual set-ups required for workshops

Coordinating and delivering on full post workflow through to finishing, including colour correct and mix file delivery, packaging and exports

Facilitating the distribution of materials, specifically online file deliveries required by the different programs

Consulting on technical upgrades and protocols for post-production process

Required Skills:

AVID Media Composer and Premiere CC proficiency

Working knowledge of Davinci Resolve, Protools and Adobe Creative Suite, specifically Photoshop, Encoder and AfterEffects

Familiarity with various file formats, codecs and transcoding methods

Highly organized and detail-oriented with strong project-planning experience

Excellent interpersonal and communication skills required for working in a team environment

Highly adaptable with strong problem-solving and multitasking skills

Sound editorial experience an asset

Interested candidates should submit a cover letter and resume by November 26, 2018 and indicate “Post Production & Technical Coordinator” in the subject line.

LINK: https://www.mediajobsearchcanada.com/job.asp?j=56100

[samfuturism]

Final prototype presentation at CFC Media Lab, July 27 2017. 

Photos by Mahsa Karimi.

[funtubeweb]

Western Gaze: 4 to Watch from North West Studio

The little-known story of Alberta’s Black pioneers, a darkly entertaining animation about the Hudson’s Bay Company and an interactive story shot in Cambodia are among projects currently in the works at Edmonton’s North West Studio. Here are four titles to watch for in the coming months.

Skin for Skin: Heritage Moment Goes Gothic

As the governor-in-chief of the Hudson’s Bay Company at its peak, George Simpson looms large in Canadian history, known in his own time as both “Emperor of the North” and a “bastard by birth and persuasion.” With Skin for Skin, an animated short that recently completed postproduction at the North West Studio, the Calgary-based animation team of Carol Beecher and Kevin Kurytnik, have fashioned a thrilling revisionist account of the HBC under his iron-fisted rule.

Setting their tale in 1823, a time when the HBC was processing well over half a million beaver pelts every year, Beecher and Kurytnik draw on references both literary and cinematic – from Edgar Allan Poe and Samuel Taylor Coleridge to Stanley Kubrick – to evoke a world of brutal exploitation and unsettling beauty. Creating 3-D sculptures of the main characters and props, manipulating them within built 3-D environments, and then overlaying everything with finely wrought hand-drawn effects, they craft an epic adventure that reframes a crucial episode in Canada’s historic national project.

“We’re calling it Canadian history, gothic style,” says producer Bonnie Thompson. “Carol and Kevin have done exhaustive research and are masters of the animation arts, but they also possess a deep knowledge of film history. Look closely and you’ll find references to Buñuel, revisionist westerns, and silent movies like The Cabinet of Dr Caligari. The film really packs a powerful visual punch. Test screen audiences are bowled over.”

Pillars of the Calgary animation scene, where they run Fifteen Pound Pink Productions, Beecher and Kurytnik first proposed the project to the North West Studio in 2012. “They wanted to investigate Canadian history from a different perspective, to explore its darker undercurrents and subtexts,” says Thompson. “We’d been looking for a chance to collaborate and were eager to work with them.”

For an earlier sampling of the Beecher/Kurytnik artistry, check out Mr. Reaper’s Really Bad Morning. “If you should suddenly find yourself jonesing for an animated flick that doesn’t necessarily play by the rules, Mr. Reaper’s Really Bad Morning might just be the prescription to soothe your indie soul,” says Film Threat Magazine.

Skin for Skin is directed by Carol Beecher and Kevin Kurytnik, working closely with William Dyer and a committed team of talented animators. Produced by Bonnie Thompson and executive produced by David Christensen, Skin for Skin is due to launch at Montreal’s Fantasia Festival later this summer.

John Ware Reclaimed: Cheryl Fogo on the trail of Canada’s Black Cowboys

“Growing up in Calgary I embraced the whole Western mystique,” says writer and filmmaker Cheryl Fogo. “I lived and breathed horses, rodeo stories and the Wild Cowboy West.”

Fogo’s ancestors settled on the Canadian Prairies well over a century ago, part of a wave of African-American immigration that came north in the late 19th and early 20th century, but as a young adult she was confronted with a striking absence: her own people’s experience had been effaced in mainstream accounts of Canadian history.

“Despite more than 120 years of Black presence in Alberta, no one pictures us when terms like ‘old stock’ are thrown around,” she says. “The whole White settler Canada narrative is incomplete. So I started writing for myself and others like me — to fill the hole where our stories should have been.”

Since then she’s authored a range of work that retrieves and illuminates this history – essays and journalism, children’s novels and other fiction, as well as theatrical pieces. With John Ware Reclaimed, a documentary that starts production this summer, she continues an investigation she began with John Ware Reimagined, a play that won the 2015 Writers Guild of Alberta’s Gwen Pharis Ringwood Award for Drama

John Ware, born in the Antebellum American South, was already an accomplished cowboy when he arrived in the Canadian west in the early 1880s. “The horse is not running on the prairie which John cannot ride,” reported the MacLeod Gazette in 1885. Although a legend in his own time, his story remains unfamiliar to most Canadians, as does the bigger story of Western Canada’s Black pioneers. “In telling Ware’s story, I’m able to reclaim my own place in the Western narrative, “ says Fogo.

Working with cinematographer Douglas Munro, Fogo conducted a preliminary shoot at the former Ware homestead, which remains a working ranch to this day, and now goes into full-scale production. A July shoot will feature the African-American rodeo champion Fred Whitfield, who is bringing Ware alive in a series of impressionistic of recreations. Also participating are cultural luminaries like novelist Lawrence Hill, who was filmed doing a reading about John Ware. Margot McMaster will be editing.

John Ware Reclaimed is directed by Cheryl Fogo, whose credits include the NFB release The Journey of Lesra Martin, and is produced by Bonnie Thompson for the North West Studio. Executive producer is David Christensen.

Invisible World: Interactivity meets Roshomon

The seed was planted back in 1994 when Tyler Enfield was travelling in Cambodia, a young backpacker immersed in a carefree expatriate subculture, only vaguely aware of the civil war that had recently devastated the country. But witnessing the near drowning of a local child would change all that, throwing everything into a sudden and sharp new focus. Over twenty years later, now an established writer and photographer, Enfield evokes the event in Invisible World, a novel initiative in multi-format interactive storytelling.

In Roshomon style, the 22-minute interactive piece employs shifting screens to present three separate but intertwining versions of the same story — with the child’s mother, the backpacker and a war weary Cambodian doctor each giving a distinct narrative account of the shared traumatic event.

Invisible World was co-created by Tyler Enfield and Gaylen Scorer with NFB producer Bonnie Thompson coming onboard as a key collaborator. “There was an extra level of complexity on this production, both in terms of technology and cinematic strategy,” says Thompson. “When planning the Cambodia shoot, we had to design shots for three screens and three voices, each with its own point-of-view and back story, while maintaining a visual coherence throughout. It’s a unusual way to create and experience cinema.”

Giller Prize winning author Madeleine Thien shares a scriptwriting credit with Enfield, writing the narration for the mother and doctor, and also voicing the mother’s character. The Cambodian-born American actor Francois Chau (Lost, Criminal Minds) voices the doctor. The cast features Cambodian actors Ngem Svey Ya as the mother, Sereyvuth Kem as Dr Von, and first-time Australian actor Mark Tilley as the young backpacker.

Invisible World is available in three language versions – English, French and Khmer – and is available in several versions. Invisible World: The VR Experience, coproduced with the Canadian Film Centre’s Media Lab and designed for HTC Vive headset, premiered at Montreal’s Festival du nouveau Cinema in 2016 and has since been shown at South Korea’s Busan International Film Festival and Edmonton’s NorthwestFest, where programmers also hosted interactive theatrical screenings of the project. App and website incarnations, designed for desktop and tablet, are due to launch later this year.

Invisible World is produced by the NFB North West Studio (producer, Bonnie Thompson: executive producer, David Christensen). Invisible World: The VR Experience is co-produced by the CFC Media Lab (producer, Ana Serrano) and the NFB North West Studio (producer, Bonnie Thompson). Executive producers are Ana Serrano (CFC) and David Christensen (NFB).

Snow Warrior Catches Cold

You need to put at least two winters behind you before you get to claim bike courier stripes in Edmonton. So says Mariah, the wiry protagonist of Snow Warrior, as she mounts her wheels and peddles off though the predawn deep freeze to start her working day.

Currently in postproduction at the North West Studio, the short documentary pays tribute to a hardy breed that plies its trade on the streets of one of the coldest cities on earth, an outdoor workplace where winter temperatures can drop to  forty below zero.

Co-directed and written by seasoned documentarians Frederick Kroetch and Kurt Spenrath, Snow Warrior was shot by cinematographer aAron Munson, who made inventive use of lightweight digital cameras. “There was a great can-do spirit on this shoot,” says producer Bonnie Thompson. “At one point the team macgyvered a bike that could be towed behind the camera, and it’s given us fantastic footage, poetic and exciting at the same time.”

Kroetch and Spenrath position their film within a very Canadian tradition of winter-themed cinema — citing NFB films like Gilles Carle’s much-loved feature The Merry World of Leopold Z, a seminal work of early Quebec cinema that was originally commissioned as a documentary about Montreal’s snow plough operators.

oehttps://www.nfb.ca/film/vie_heureuse_de_leopold_z/

Snow Warrior is co-directed by Frederick Kroetch and Kurt Spenrath, and is co-produced by the North West Studio (Bonnie Thompson, producer) and Edmonton’s Open Sky Pictures (Frederick Kroestch, producer). It’s due to launch in late 2017. NFB Executive Producer is David Christensen.

The post Western Gaze: 4 to Watch from North West Studio appeared first on NFB/blog.

Western Gaze: 4 to Watch from North West Studio posted first on http://ift.tt/2sCUYNt

[vrheadsets]

Canadian Film Centre Partners with Bell Media for VR Initiative

The Canadian Film Centre and Bell Media have announced a new initiative hoping to spark new creative ventures in the virtual reality (VR) and augmented reality (AR) spaces. Named the CFC/Bell Media Vision Project, the project will offer assistance to companies experimenting with VR and AR experiences. The Canadian Film Centre’s CFC Media Lab already works with many companies on a variety of media, and hopes that the CFC/Bell Media Vision Project will expand their horizons into VR and AR.

Randy Lennox, President of Bell Media, understands the potential the new technologies have to impact the mainstream; “VR and AR technology continues to grow, and we recognize its potential to fundamentally change the way Canadians consume screen-based content, like we are doing this summer with THE AMAZING RACE CANADA.”

Lennox continues; “As a proud leader of Canadian content development and delivery, this latest strategic investment positions Bell Media at the forefront of a new and exciting space.”

The CFC/Bell Media Vision Project will work with the CFC’s IDEABOOST project, which helps small businesses get professional mentoring and advice from industry experts. With the CFC’s already established network and history, the Vision Project looks to be a promising way for new companies in Canada to get started in VR and AR.

With The CFC Media Lab, IDEABOOST and now the CFC/Bell Media Vision Project, the future is looking incredibly bright for Canada’s entrepreneurs and start-ups. Take a look at CFC Creates website here for more.

For everything on VR, AR and the industry, stay on VRFocus.

from VRFocus http://ift.tt/2smzSpq

[nofomoartworld]

Hyperallergic: Walk Inside a Gothic Prayer Bead in a VR Experience at the Cloisters

Rosary of Floris van Egmond and Margaretha van Glymes (Netherlandish, 1500–1539), boxwood, length: 20 7/8 in (courtesy Musée du Louvre, Département des Objets d’art, Paris; © Musée du Louvre; photo by Craig Boyko/Ian Lefebvre)

The Small Wonders: Gothic Boxwood Miniatures exhibition that opened this week at the Metropolitan Museum of Art’s Cloisters is a rare gathering of around 50 tiny wood carvings created for religious meditation. The details on the prayer beads, some two inches in diameter, are incredible, so layered with their saints and devils, that, according to Anna Serrano, “The moment people see these objects, they wish that they could go inside.” Serrano is the chief digital officer at the Canadian Film Centre’s Media Lab (CFC), and producer for “Small Wonders: The VR Experience,” which allows museum visitors to do just that.

The “Small Wonders” VR experience (photo by Craig Boyko/Ian Lefebvre, AGO)

Although the Small Wonders exhibition, organized by the Met, the Art Gallery of Ontario (AGO), and the Rijksmuseum, is up through May 21, the VR experience is only a four-day event, starting today and concluding on Monday, February 27. (Register for time slots online.) And it really is worth it to gain an intricate understanding on a forensic level of how meticulous the detail is in these handheld objects, with the VR concentrating on one 16th-century Netherlandish piece depicting the Last Judgement and the Coronation of the Virgin. At one point in the VR experience, you can kneel down to look into the jaws of a demon, and see carving marks inside its minuscule mouth. At another, you lean in close to damned souls being pulled away to hell by devilish creatures, with one lone cloaked figure in their midst seeming to lurk as a memento mori.

“Not only does it shine a light on the objects themselves, it can be used for research purposes,” Serrano said, noting that the VR project, as well as the CT scanning that was developed into this immersive world, has helped researchers to better understand the tools, process, and design of the miniatures. The experience is a collaboration between AGO Conservator Lisa Ellis and interactive artist and designer Priam Givord, with production by CFC and Seneca’s School of Creative Arts and Animation. It was initially staged at the exhibition’s debut at the AGO last November. Small Wonders is the first time so many of these boxwood carvings, formed from a particular type of evergreen tree, have been shown together.

“Essentially the VR came from the fact that you couldn’t open the beads, they were inaccessible,” Givord said. “We got a very precise model to blow it up and also separate the pieces. These pieces have never been separated before.” In other words, while you can crack open the prayer bead to see its view, catching the somber expression of a man in a lower row of the bead was impossible. Yet in the VR experience, you are shrunk down to miniature size, and able to walk through the exploded layers of the biblical scene, and see his minutely-carved face.

“Small Wonders: The VR Experience” installed at the Cloisters (photo by the author for Hyperallergic)

Prayer Bead with the Crucifixion and Jesus before Pilate (Netherlandish, early 16th century), boxwood (courtesy the Metropolitan Museum of Art, New York, gift of J. Pierpont Morgan, 1917; © The Metropolitan Museum of Art, New York; photo by Peter Zeray)

Unlike a lot of art-related VR I’ve experienced, the Small Wonders interactive is much more about appreciating an object in a different way than just a novelty. It’s also impressively transporting, as one moment you’re standing in the Fuentidueña Chapel at the Cloisters, and the next you’re on some Ender’s Game-esque gridded plane, the bead looming above you. A soundtrack of 16th-century Northern European spiritual songs sets the mood, drowning out the museum sounds. An attendant guides you through the process so you don’t trip over the rope and stumble into any priceless art, and with a controller you can explode and contract the diorama of the bead. Even though you are aware it is a digital view, there’s still something startling about walking through the carved surface. For Givord, who has an industrial design background, preserving that tactile nature with the scans, instead of simulating a digital wood grain, was essential to the project. He wanted something “that’s visceral and that you can touch,” even if your hand goes right through.

“Most of the people have had the same attraction and hypnotizing experience as the objects were made to have,” he said, remarking that users “almost get into a meditative state,” much like a Gothic worshipper would have when studying the scenes in the palm of his hand. The wonder of these small objects is still very much present in marveling at the carved sacred scenes of heaven, hell, and biblical miracles. The VR helps recover the fascination that might have been felt by a person in the 16th century, when their seemingly impossible precision was part of that awe. It was a deeply contemplative mental condition, — not unlike, as Serrano put it, “the flow state you have when you are playing a game.”

Prayer Bead with the Nativity and the Adoration of the Magi (open) (Netherlandish, early 16th century), boxwood, gilded silver, diameter: 1 7/8 in (courtesy Rijksmuseum, Amsterdam; photo by Craig Boyko/Ian Lefebvre)

Prayer Bead with the Nativity and the Adoration of the Magi (closed) (Netherlandish, early 16th century), boxwood, gilded silver, diameter: 1 7/8 in (courtesy Rijksmuseum, Amsterdam; photo by Craig Boyko/Ian Lefebvre)

Knife (Netherlandish, early 16th century), overall: 2 1/4 x 1 3/8 x 17 1/2 in (courtesy Musée du Louvre, Département des Objets d’art, Paris; © Musée du Louvre; photo by Craig Boyko/Ian Lefebvre)

Letter P with the Legend of Saint Philip Netherlandish (open) (1500–before 1506), boxwood, overall (open): 2 7/8 x 3 7/8 x 1/4 in (courtesy the Metropolitan Museum of Art, New York, the Cloisters Collection; © The Metropolitan Museum of Art, New York; photo by Peter Zeray)

Miniature Coffins (Netherlandish, early 16th century), boxwood (courtesy the Wernher Foundation, English Heritage, Ranger’s House, London; photo by Craig Boyko/Ian Lefebvre)

Miniature Coffin (Netherlandish, early 16th century), boxwood (courtesy the Wernher Foundation, English Heritage, Ranger’s House, London; photo by Craig Boyko/Ian Lefebvre)

Prayer Bead in the Form of a Skull with the Temptation of Adam and Eve and the Crucifixion (open) (German ?, first half 16th century), fruitwood (courtesy the Thomson Collection at the Art Gallery of Ontario, Toronto; © Art Gallery of Ontario; photo by Craig Boyko/Ian Lefebvre)

Prayer Bead in the Form of a Skull with the Temptation of Adam and Eve and the Crucifixion (closed) (German ?, first half 16th century), fruitwood (courtesy the Thomson Collection at the Art Gallery of Ontario, Toronto; © Art Gallery of Ontario; photo by Craig Boyko/Ian Lefebvre)

Prayer Bead of François du Puy (Netherlandish, 1517–before 1521), boxwood (courtesy private collection; © Art Gallery of Ontario; photo by Craig Boyko/Ian Lefebvre)

Miniature Altarpiece with the Crucifixion (Netherlandish, early 16th century), boxwood (courtesy the Metropolitan Museum of Art, New York, gift of J. Pierpont Morgan, 1917; © The Metropolitan Museum of Art, New York; photo by Peter Zeray)

Installation view of Small Wonders: Gothic Boxwood Miniatures (photo by the author for Hyperallergic)

Small Wonders: Gothic Boxwood Miniatures continues through May 21 at the Metropolitan Museum of Art’s Cloisters (99 Margaret Corbin Drive, Fort Tryon Park, Manhattan). “Small Wonders: The VR Experience” runs through February 27. 

The post Walk Inside a Gothic Prayer Bead in a VR Experience at the Cloisters appeared first on Hyperallergic.

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[seanwomersley]

FITC Toronto 2016 Titles from FITC on Vimeo.

It's Time to Level Up

Your skills, your connections, your passion: take it all to the next level with FITC Toronto 2016 – a three-day professional celebration of the best the world has to offer in design, web development, media and innovation in creative technologies. It’s a conference that both unites and transforms the industry – assembling major leaders and players from across North America and the world.

The Premiere Conference Attended by Local and Global Innovators in Creative Technology See full details at FITC.ca/toronto

Client: FITC Agency: Giant Ant Directed by Giant Ant

Producer: Liam Hogan Creative Direction: Jorge R. Canedo Art Direction: Rafael Mayani Additional Design: Jorge R. Canedo, Nicholas Ferreira 2D Animation & Compositing: Jorge R Canedo, Nicholas Ferreira, Shawn Hight, Matt James, Max Halley Cel Animation: Henrique Barone, Jorge R. Canedo, Jay Grandin 3D Modelling & Animation: Nicholas Ferreira, Matt James, Conor Whelan, Shawn Hight Music & SFX: Antfood

FITC Toronto 2016 speakers include Adam Cutler, IBM Cloud Adrià Navarro, Red Paper Heart Alon Chitayat, Animishmish Creative House Ana Serrano, CFC Media Lab Anton McConville, IBM Anton Repponen, Anton & Irene Ash Thorp, ALT Creative Inc. Blair Renaud, IRIS VR Inc. Bob Heubel, Immersion Corporation Branden Hall, Automata Studios Brendan Dawes, Singleman Catt Small, SoundCloud Chrys Wu, MacDiva Claudia Chagüi, Fake Love Craig Fitzpatrick, PageCloud Daniel Scheibel, Red Paper Heart David Allen, Allen Tattoo David Lehman, HUSH David OReilly, David OReilly Denis Lirette, Globacore Elli Raynai, Cinehackers Eric Boyd, Sensebridge Eric Decker, Firstborn Gary Baseman, Hotchachacha, Inc. Giorgio Natili, McGraw Hill Education Graham Churchill, IBM Canada Ltd Greg Hermanovic, Derivative Haris Mahmood, Shopify Helen Androlia, Gravity Partners Ltd. Holly Knowlman, Stupid Magazine Irene Pereyra, Anton & Irene Ivan Cash, Cash Studios J Lee Williams, OccupiedVR James White, Signalnoise Jared Ficklin, argodesign Jason White, Leviathan Jay Grandin, Giant Ant Jean-Philippe Côté, Collège Édouard-Montpetit Johnny Cupcakes Keetra Dean Dixon Kim Alpert, DCI Artform Lance Weiler, Columbia University Digital Storytelling Lab Liam Oscar Thurston, TWG Lola Landekic, Art of the Title Louis Lazaris, SitePoint Mark Rigley, Fuel Youth Markus Heckmann, Derivative Matt DesLauriers, Jam3 Maya Bruck, Etsy Michael Muller, MULLERPHOTO Mikko Haapoja , Jam3 Mr. Bingo Nicholas Felton, Feltron Nick Van Weerdenburg, Rangle Paige Raynes, Immersion Corporation Paul Pattison, Relish Interactive Paul Trani, Adobe Pearl Chen, Karma Laboratory Rami Sayar, Microsoft Canada Richard Blakely, Influxis Rob McDiarmid, Konrad Group Ron Edelen, Myjive Ron White, Firstborn Ryan Christiani, HackerYou Sabaa Quao, Newsrooms Sarah Groff-Palermo Sophi Kravitz, MIX-E Stacey Mulcahy, Microsoft Stefan Grambart, Secret Location Stephen Martell, Current Studios Steve Tam, Snips Tanya Collier MacDonald, Orenda Titus Blair , Dolby Laboratories Trevor Haldenby, The Mission Business Varun Vachhar , Rangle.io Will Perkins, Art of the Title Wilson Brown, Antfood Yulia Vasilyeva , Intelocate Zander Brimijoin, Red Paper Heart

[aztecstyle1]

NFB, CFC Media Lab and the Ford Foundation launch VR doc lab OPEN IMMERSION II https://t.co/eheO69FAi1

NFB, CFC Media Lab and the Ford Foundation launch VR doc lab OPEN IMMERSION II https://t.co/eheO69FAi1

— aztecstyle (@aztecstyle1) October 27, 2019

from Twitter https://twitter.com/aztecstyle1 October 27, 2019 at 12:01PM via IFTTT

[apprenticepress]

January 19 2013 was our first ideaBOOST BOOSTer day held at the amazing Spoke Club. A special congratulations goes out to all the participants and lead guides who spent the day chatting with BOOSTers about their project’s progress to date. We also want to thank all of the amazing BOOSTers who came and shared their thoughts and opinions on the progress of the projects. Want to see more?  Watch this video:

Be sure to check out the flickr page to see some great photos of the event: http://www.flickr.com/photos/cfcmedialab/sets/72157632649172035/

As always follow along with the conversation: @cfcmedialab #ideaBOOST