A dropout from University of Texas's Advanced Communications Theory Laboratory, Mason Dixon, then Sfear Bebopanaut, went to work for a small internet start-up, iChat, designing the first version of Yahoo's chat community. After iChat's IPO, Sfear organized a team of hackers to detect vulnerabilities in electronic voting systems before the 2000 presidential election. After 9/11, Sfear changed his name to Mason Dixon and moved to Chicago, where he now resides as an instructor of Motion Graphics at the School of the Art Institute of Chicago and a director of the Motion Graphics Festival which innovates creative community in the areas of film, music, art, technology, design and culture. Mason's professional career includes a plethora of big name clients and he's designed public sculptures and video performances for museums and various large scale festivals. Mason Dixon’s work has investigated the specific subjects of: the moving image as a performance medium; aesthetics and warfare; identity hacking; and public art. In the last 2 years he has produced over 70 exhibitions in 10 US cities and has shown with artists such Mia Liu, Carl Cox, Shepard Fairy, String Cheese Incident, American Analog Set and DJ Spooky. Mason Dixon, currently known as Jameson Wallace, is a signed artist represented via the multimedia label known as Psymbolic.


mason dixon

MGFest 2010 Chicago :: Idea, Brand and Artistic Provocateurs


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Written by John Patterson
President at Hollywood Farms, Owner at Influence Ecology, Founder & President at Chicago Convergence

Seeking "Idea Sponsors," is how Mason Dixon, co-director of the Motion Graphics Festival differentiated the 2010 event. In it's fifth year, MGFest is known nationally as the "premier creative conference for motion design, visual effects, sound design and interface technology."


Chicagoans Mason Dixon and MGFest Directors Julee Wood and Troy Milstead (thru their Audio/Video event engineering company Psymbolic) have been a major source of creativity, not only here, but have produced the festival in Austin, Atlanta, Boston, Chicago, Orlando, Washington DC and this year, Philadelphia and San Francisco.

What is so unique about the festival is that, although it's focus is motion design, the experience is about discovery, interactivity, education and creativity. "Creativity happens, not in the convention centers and hotel ballrooms, but in the little nooks and dark spaces," says Mason. This art is "not about presenting something, the way television talks to you, but it is very interactive, more of a dialog; a way that people can engage motion design... and the way motion design engages people."

With official plans to be unveiled this month (unique sessions, labs, imagination college, receptions, community pavilion, networking and press opportunities, entertainment & art parties, art directors features, meet-the-team discussions and unconference discussions), MGFest, which used an invented currency (designed by Shepard Fairey the OBEY Giant) for their 2009 circuit, are always experimenting; not just with content - but with the event's very structural nature.

For example, 2010 will see "Artists as Curators," says Dixon, "Chicago has many internationally renown artists... not always known or celebrated here; hidden talents that will provide their unique vision," Dixon claims. The intent is that Artists as Curators will allow the entire experience to unfold organically by all those that participate; in essence every participant becomes an artistic collaborateur. A shorter event than in previous years, MGFest Chicago 2010 is five days packed with potency and promises "an unprecedented degree of event integration."

As with anything cutting edge, "most larger brands don't understand how to plug into the festival because it doesn't fit the traditional model," says Milstead. "We definitely have a menu of ways for large sponsors to benefit from the event, but we also seek their own ingenuity." With participation online and through live events, MGFest connects artists, participants, curators and sponsors not just locally, but across screening events in over 30 cities nationwide; most large-scale metropolitan areas are included providing an artistic experience that falls somewhere between Burning Man, Lollapalooza and Chat Roulette. The festival audience is immense and provides the rich creative soup that fosters the evolution of artistic expression in a digital age.

Psymbolic, also a multimedia label "represents a select roster of audio, visual and multimedia artists available for bookings and commissions worldwide." Julee, Troy and Mason are not only intellects of artistic merit (their experimentation likened to a digital/graphic Bauhaus), but have woven their business into a ever-expanding artist, client, and brand fusion that tests the limits of motion design and artistic experience.

MGFest 2010 Chicago :: September 15-19

For more information on MGFest 2010
For more information on Psymbolic's clients and services

 





Somatic Death, Soma Life


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Presented by Lumen Eclipse on two flat panel displays in Harvard Square from January to March 2010, and 24-hours a day on Lumen Eclipse

Curated by Jameson Wallace, School of the Art Institute of Chicago
Sponsored by the Motion Graphics Festival

At the moment of separation of the body from the brain, our ability to differentiate thought from prosthetic breaks down. Our body extends as far as our effect, far beyond our ability to see it happen. Both the threat and promise of virtualization is that its nature will have a form of dance more appropriate to us than what we now call "human."

Feature Artist:
+ Alan Sondheim (US)

Context Artists:
+ Jean-Paul Frenay (Belgium)
+ Shantell Martin (Japan)
+ Addictive TV (UK)
+ Three Legged Legs & N.A.S.A. (US)

 





Atlanta Motion Graphics Festival 2009


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Motion Graphics Festival 2009
Atlanta, Georgia :: July 10-12
http://www.MGFest.com/09/Atlanta/


The Atlanta Motion Graphics Festival showcases explosive artists and motion picture creators including: Shepard Fairey, Nine Inch Nails, David Byrne, Chuck D of Public Enemy, KRS-One, Addictive TV, Digital Kitchen, The Mill, Passion Pictures, Animal Logic, Post Panic, Dvein, David Lobser, Integrated Visions, The Secret Life, Sensitive Chaos, GalaxC Girl, Quetzatl and more.

The ATL-MGFest will be hosting workshops and lectures about the shift in motion-picture audiences and explores the new technologies that motion designers will need on the video internet frontier. Motion design, sound design and interactivity, are all featured during July 11th and 12th, with daytime workshops at Atlanta's Adobe Certified Training Facility, Sterling Ledet. Evening screenings and live performances will be hosted at Atlanta's Internationally-renowned portfolio school, Creative Circus.

This festival in the fast moving field of design technology has opened it's Art & Entertainment events for only $7. Rather than charging the typical $500-$1500 conference fee, the Motion Graphics Festival encourages participants to stop complaining about the economy, and spend their money on something that will upgrade their tools, technique and aesthetics. Software, DVDs and music will be available at a discount rate throughout the festival week.

MGFest Sponsors include: Maxon, Sterling Ledet, The Creative Circus, SAIC, SXSW, IdN, Ableton, Stash DVD Magazine, Livid Instruments, Lumen Eclipse, UnScene, RE:Vision Effects, Create Digital Motion, All City Technology, Future Media Concepts, DigiEffects, VidVox, Resolume, GarageCUBE, Lift Motion Design, Boris FX, Toolfarm, Wondertouch, Clif Bar, FXAppDeveloper, Grapeseeker and AtlPsy.

Silent Auction for over $18,000 in software, DVDs and training materials.

.: Motion Graphics Festival :: http://www.MGFest.com

Spread the Word --> http://www.MGFest.com/spread_the_word





███{ (◣◢) }███ Dr. MD’s Tech Injection


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David Lobser
Visiting Artist at Harvard VES this year:
http://www.dlobser.com/

Flash CS4 Distributable at Desktop Application with AIR:
http://www.adobe.com/products/air/

PDF can now contain data-driven content
designed for the financial industry, not artists:
http://www.adobe.com/products/livecycle/

Microsoft designs collaborative computing, multi-touch surface:
http://www.microsoft.com/surface/

Augmented Reality & Artware come to iPhone:
http://www.createdigitalmotion.com/2009/06/03/augmented-reality-coming-to-the-iphone-platform-and-other-mobiles/
http://www.createdigitalmotion.com/2009/06/02/philia-01-beautiful-audiovisual-art-app-for-iphone-made-with-open-source-openframeworks/

Jodi still holdin it down with:
http://www.globalmove.us/

Lumen Eclipse’s New Psychedelia Show:
http://www.lumeneclipse.com/

thirteen23’s Twitter App:
http://www.thirteen23.com/experiences/desktop/blu/

My two current favorite websites:
http://mgfest.com/09/Online/?link=434
http://mgfest.com/09/Online/?link=433

Anyone got a top-10 movies list?

███{ Ϛ╠╣║└└iŊ.. ĩ̮̮̾ҋ..tϞع ..Ʊҋi^≡®§e }███





MGFest releases NASA’S “MONEY”!


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See Co-Director of “Money,” Paul Griswold, speak at the Chicago Motion Design Conference.
http://MGFest.com/09/Chicago/screenings/paulgriswold.php


Director/animators Syd Garon and Paul Griswold, recently co-directed a music video for the band NASA (North America South America). The song, titled Money, features Grammy, Oscar and Golden Globe winning singer/songwriter David Byrne and Chuck D, leader of the rap group Public Enemy. The music video features artwork by contemporary artist and designer Shepard Fairey, who recently gained national notoriety for his design of the Barack Obama “Hope” campaign poster.







Why does Barter feel so Good?


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Part 1 : Why does Barter feel so Good?

By Hannah Davenport and Mason Dixon, School of the Art Institute of Chicago

Why does Barter feel so good? In the moment of exchange, Barter feels refreshing in a way that nothing on Main Street ever does. The experience of bartered exchange provides something currency-based exchange does not, and cannot. And yet, Barter could not replace Money on a large scale. Barter can, at best, be a temporary supplement for Money, a perversion of our more civilized system.

The exchange of goods and services pervades our experience of the world, and Money currently mediates that process. Currency sets the stage of exchange, impersonally and invisibly. When we give someone currency for a product or service, our thoughts collect solely on the thing we receive and the value it has. Barter, however, causes us to also think about the thing given, and its value to the other person involved in the exchange. The mechanics of Barter place value on a localized scale, the scale of individuals, rather than the “value by mass consensus” that Money supposes. (Even if Barter were expanded to a larger system, it would fall prey to the same shortfalls that Money now has, and more. It would not feel good.)

Money is not sinister, far from it. Currency reduced haggling. It made the exchange process simpler, faster, transitive, by creating an agreed-upon independent measurement, by translating value into a common metric. Money scaled exchange value to the global scale by symbolizing a statistical distribution of value among all exchanges, a composite of all the price-setters and manipulators, yet the assessment of value is not static.

Within the experience of an individual exchange, buyers and sellers operate under the assumption that when they give $3 to the Butcher, that it is still worth $3 when the Butcher gives it to the Rancher. But, this sense of consistent value, and thus the sense of equal purchasing power, are continuously undermined by the economic system itself, by capitalism. The profit motive requires that sellers collude and buyers influence.

Money represents itself as an accurate measure, as stable as the milimeter or pi, and yet is not. The currency in your pocket has no more intrinsic value than a wave would have form, separated from the kinetic energy of the ocean. Investment, dividends, derivatives, accumulation, interest, inflation, arbitrage, supply and demand, are all statistically distributed across the economic system, altering even how the same product is valued by the same vendor week to week. Clearance sales and discount malls, are not the indicators of value correcting themselves, but rather indicators of their fluctuations.

Money gives the impression that its position is steady, its relation to value unchanging, and Barter does not. Barter never claimed consistency or equality. Barter in some way is more honest with its participants by making the exchange independent and temporary. Barter assumes space within the value-exchange proposition for things outside of the currency, such as brutality or social class.

And why should Money’s relativity be so troubling? Desire production leads contemporary capitalism; consumerism drives our identities towards exchange. Money in American culture is more than the language of exchange, it is part and parcel with the language of identity, with who we are as individuals. The distribution of wealth described by Money became the distribution of value we have as individuals. It’s description of us defines who we can make ourselves into. While Social Mobility has increased over the last 100 years, it has come at a cost, the cost of embedding desire into every aspect of our lives (the exchanges) from scrubbing bubbles to baseball. Money’s lie, that it describes a consistent value, lets us forget that it mediates our exchanges. It lets us forget that other forces are at work. The pervasiveness of exchange then enables Money to tax our identities.

if you have a Family, here are the things you buy…
if you are German-American here are the things you buy…
if you like to drive fast, here are the things you buy…
if you are a Foodie here are the things you buy…

Perhaps, this is why barter feels so refreshing. Barter opens a freedom for the individual within exchange, freedom to assign the world with the value we believe it should have. Even when it is inefficient, people will Barter to feel good; people will barter to feel free. Barter makes the exchange itself personally valuable, independent of the value of the things being exchanged. Barter replaces the function of money in the exchange process by negotiating and mapping the territory of exchange, not to the scale of investment or accumulation of wealth, but it is not necessary for Barter to do these things. Barter feels good in the experience of it, and that value-in-exchange is something we can inhabit, something we can identify with.

Barter resituates the power relationship of value-exchange from the currency-backer, to the micro-community of a particular exchange. For once, the individuals involved determine what is valuable. Barter mimics the relations we have with friends and family. Can helping someone move, giving a back-rub, or writing a poem translate to value between acquaintances or even strangers? Is it possible to expand this ability to share our values, skills and specialities, without needing to take it to scale of a federally-mandated currency?

Part 2 : When the System is Down

Being a teacher means that you have to arrive at the school at least an hour before the students do. This was the first day of a new class and cold morning on Chicago’s Michigan Ave. So I was there 2 hours early. I had intended to get coffee before I arrived at the building, but my usual stop was closed, despite the sign that said they opened 30 minutes earlier and the “open” neon sign still blinking in the window.

I walked down a cold empty street and into a warm empty building. No one was around except the security guard, who was cordial and friendly. I offered to buy her a coffee and asked directions to the nearest place that would be open at this time of morning.

She said there was a Starbucks inside a hotel a block down. When I got there the lone attendant behind the counter was frantically calculating the cost of a business women’s group order on a calculator. She made the poor kid explain three times how the credit card machine was connected to the currently down computer system. She had no other way to pay for her company breakfast and left in a huff. What else was she supposed to do? There was no other place open for blocks.

I showed him my cash and he looked relieved. I order two coffees and while he prepared them I browsed the pastry window. When he returned I asked how much a cookie cost. He leaned over the counter and saw that none of the pastries prices had been labeled. He said, “This morning, the cookies are free.” Somehow I don’t think that was in the employee handbook.

Part 3 : Manipulating Desire

The First Things First Manifesto was a call to designers to revalue their fees based on the social relevance of their clients. It was first published in 1964 and reified in 2000.

First Things First 2000: a design manifesto
Published jointly by 33 signatories in: Adbusters, the AIGA journal, Blueprint, Emigre, Eye, Form, Items

We, the undersigned, are graphic designers, art directors and visual communicators who have been raised in a world in which the techniques and apparatus of advertising have persistently been presented to us as the most lucrative, effective and desirable use of our talents. Many design teachers and mentors promote this belief; the market rewards it; a tide of books and publications reinforces it.

Encouraged in this direction, designers then apply their skill and imagination to sell dog biscuits, designer coffee, diamonds, detergents, hair gel, cigarettes, credit cards, sneakers, butt toners, light beer and heavy-duty recreational vehicles. Commercial work has always paid the bills, but many graphic designers have now let it become, in large measure, what graphic designers do. This, in turn, is how the world perceives design. The profession’s time and energy is used up manufacturing demand for things that are inessential at best.

Many of us have grown increasingly uncomfortable with this view of design. Designers who devote their efforts primarily to advertising, marketing and brand development are supporting, and implicitly endorsing, a mental environment so saturated with commercial messages that it is changing the very way citizen-consumers speak, think, feel, respond and interact. To some extent we are all helping draft a reductive and immeasurably harmful code of public discourse.

There are pursuits more worthy of our problem-solving skills. Unprecedented environmental, social and cultural crises demand our attention. Many cultural interventions, social marketing campaigns, books, magazines, exhibitions, educational tools, television programs, films, charitable causes and other information design projects urgently require our expertise and help.

We propose a reversal of priorities in favor of more useful, lasting and democratic forms of communication - a mindshift away from product marketing and toward the exploration and production of a new kind of meaning. The scope of debate is shrinking; it must expand. Consumerism is running uncontested; it must be challenged by other perspectives expressed, in part, through the visual languages and resources of design.

In 1964, 22 visual communicators signed the original call for our skills to be put to worthwhile use. With the explosive growth of global commercial culture, their message has only grown more urgent. Today, we renew their manifesto in expectation that no more decades will pass before it is taken to heart.

Part 4 : Bazaar-Op

We call it the “Bazaar-Op.” We hope to launch the process of Bartering and Exchange (B&E) of goods and services for all to enjoy. It is organized Chaos!

THE GOAL- is to trade goods and have fun! Creating new value for skills and objects to share with each other…

- BRING- 10 items, a bottle of some elixir (preferably alcoholic) and you are encouraged to dress as a merchant or wear some other creative duds.

- SETUP- participants are welcome to set up the evening before (6pm-midnight), or on the day of between 4pm and 8pm.

- CRUISE & PERUSE- between 8pm and 10pm scour the terrain of items and make offers on items you have an interest in Bartering… (no deals though)

- BARTER & BAZZOP- between 10pm and 12pm, interested parties will engage in pure and chaotic Bartering… When both parties are in agreement we say, “BAZZOP,” at which time the deal is done and final. The items are then taken off the bartering floor so that the rest of the items can be bartered without distraction…

- CLEAN- after the clock strikes midnight, we will clean up. This is a leave no trace event- You must take everything home with you and return the space to an acceptable condition.

- CELEBRATE- when the space is adequately cleaned, we will begin a party with wonderful musicians for your dancing pleasure. Given that the event is on a Wednesday, the event will end at 3am

WHAT DO WE CONSIDER A BARTER-ABLE ITEM?
- each participant will bring 10 items/ barter-able objects… and value those items 1-10 according to your subjective valuation of them…

* SIZE- note, all items need to be less than 2′ X 2′ X 2′ otherwise you will need to take a photograph of it
** SERVICES- also note- you can make one of your items a “service” such as an hour or day of labor. (For example, painting a room). Please bring a piece of paper that says for example, “One hour massage”
*** PANDORA’S BOX- one item can also be an unknown which we call the “Pandora’s box” which you can barter as you see fit…

Let’s get foolish and trade priceless goods!
Start setting aside your Barter Items…
You Get What you Give…





A History of Tomorrow's Interfaces :: a talk by Mason Dixon


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The Chicago Convergence just published Motion Graphics Festival Director, Mason Dixon's presentation on the Future of User Interface Design





Announcing MGFest Installation Art Showcase


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Chicago MGFest 2009 Installation Art Showcase
at Pixel Brothers Studio
Saturday, January 24th, 9pm-12am
400 N Wolcott, Fourth Floor, Chicago, IL 60622

$7 entry to all MGFest Events, Online RSVP required on www.MGFest.com

MGFest Installation Art Showcase

A synaesthesia of: ( sound | visuals | interactive | social ) integrated into an unparalleled media+art event. MGFest09 begins a tradition of full-scale environmental design, bringing together a massive range of creative talents to inspire, awe, and activate your mind. Showcasing over 30 artists.

Presenting artists include:

Addictive TV, "Slumdog Millionaire Remix"
"Now the awards magnet that is Danny Boyle's 'Slumdog Millionaire' has gone under their [Addictive TV's] knife, and it's not hard to see why the movie remix has proved an effective trick - they don't ruin the story, and yet you spend more time watching it than a trailer."
~ The Vine

"we've got a little tastemaker in the form of an absolutely EVIL remix of the movie for both fans as those eager to see what's around the corner. A movie remix? Indeed, and a very special one too. None other than Addictive TV have been asked by Danny Boyle himself to create an alternative web trailer for Slumdog Millionaire by using sample sounds and images. The result is a stunning audiovisual piece of art..."
~ 365mag.com

"If you thought Slumdog was an energetic and fun film (one of the best of the year, mind you) before, you’ll be surprised to see that it gets better in the hands of the Addictive TV team."
~ filmschoolrejects.com

Brian Dressel, "Respondr"
Respondr uses its proprietary video tracking software to analyze motion in the display area. Motion is processed to activate various games, media, and effects. The Respondr playlist can be set to change effects and imagery automatically. Many effects are provided with the installation, such as liquid, reveal, soccer and beachball and flying simulations, informational displays and many fun games.

Nano, "Bustin' out"
This installation invites people to look into windows that activate the busts of philosophers, entertainers, rulers, and scientists both ancient and modern, turning the street into a living museum. Viewers can enliven the likes of Mark Twain, Kanye West, Henry Ford, Jay-Z, Einstein, Plato, Bill Gates, Augustus Caesar, Jacques Derrida, Marshall McLuhan, Jacques Cousteau, Julia Child, Queen Elizabeth, Max Headroom, George Clinton, Abraham Lincoln, Thomas Edison, Sun Ra, and, in fact, all of Planet Earth, and, if you're extremely patient, the entire universe.

Christian Matts, "Sorry, I'm not here right now"
At the core the installation is a simple projected live camera feed. However it plays with your expectations as it is delayed and affected by the motion in the video. Increased motion will increase the delay, echo effects and sound. Less motion makes the video run in real time. The piece explores ideas about how we view art and if art exists void of an audience. Christian Matts is a Brooklyn based video and motion graphics artist.

Michael Una, "Beep-It"
Beep-it is an optical theremin synthesizer. It outputs a square wave signal whose pitch is modified by the amount of light detected. The sound resembles that of early 8-bit video games. These are hand-built and assembled by Michael, signed and individually numbered.

Galina Shevchenko, "WILL IT EVER? Expanded Euro Instances..."
Galina Shevchenko is a Moscow-born, Chicago-based video artist. She works across the mediums of live video performance, animation, and video installation. Galina has performed live video at numerous venues around Chicago including Rodan, Smart Bar, Sonotheque, Museum of Contemporary Art. Her short films had been shown
at festivals in New York, Berlin and Moscow. She is a member of Chicago based short films collective Group 312 films and Collaboraction theatre company. Galina’s art work is represented by Moka Gallery in Chicago.

Chris Hampson, “The TV Show”
Imagine your living room flipped inside out: The TV has taken your spot on the couch and your life is the show. The common household instrument of mass mind control becomes a musical instrument in a unique composition for six TV sets. While this television ensemble is entertaining to the eyes and ears, its juxtaposition requires the audience to examine their relationship to televised media.

Byron Durham, "REP (Reactive Environmental Projection)"
An environmental projection that reacts to ambient room audio.

Plus many more artists.
http://MGFest.com/09/Chicago/screenings/installationart.php





Only in Chicago: The Legendary $7 Festival of 2009


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With MacWorld recently announcing they are closing their doors for good and Midway Games laying of 150 full-time employees… the recession of 2009 is beginning to infect the minds of the creative industry with decreasing budgets and bottom lines.
However, there is still cheery news for the holidays; the Chicago Motion Graphics Festival (a 7-day conference in the fast moving field of design technology) has opened it’s Conference, Screenings, Studio Tours and Art Showcases for only $7. Rather than charging the typical $500-$1500 conference fee, the Chicago Motion Graphics Festival encourages participants to spend their money on new books, DVDs and software that are offered at a discount rate during the conference.
“Rather than buying an experience,” comments Mason Dixon, co-director of the festival’s sixth year, “we want people to commit to upgrading their skills, aesthetics and software, all the while getting totally inspired by some amazing motion design artists and technologists.”

The festival’s “Motion Market” offers attendees significant discounts on DVD collections of audio/video art and Motion Graphics work, technical training books, workshops, video hardware and software upgrades. Plus over $10,000 in free software will be given away as door prizes. All events require an RSVP on the MGFest website, which also grants access to several online-only events that occur during the festival week.
While Chicago is home to the Motion Graphics Festival, this year MGFest tours to four other cities nationally. In 2009, MGFest will visit Cambridge, Massachusetts, Austin, Texas, Atlanta, Georgia and Washington DC.
“Chicago is, and always will be, the heart of MGFest. It is the launch and the conclusion; it’s always the biggest event, and sets the tone for the rest of the year. Why else would it be in January” Mason explains. The festival kicks-off on January 20-25, 2009.
About the Motion Graphics Festival
In its 6th year, MGFest stands as the premier US event showcasing creative motion picture design. The festival presents a year-long, regionally focused program of events. The MGFest09 Tour focuses on motion design, sound design, and film & video technology by hosting: art showcases, exhibits, workshops, classes, panel discussions, studio tours, theater screenings and industry mixers.

For more information, visit the Festival web site at www.MGFest.com
Festival Sponsors include: The Chicago Convergence, Columbia College, Stash DVD Magazine, Maxon, Toolfarm, School of the Art Institute of Chicago, Bridges Media Group, Lift Motion Design, Future Media Concepts, Create Digital Motion, DigiEffects, Livid Instruments, Resolume, Boris FX, All City Technology, Lumen Eclipse, Sterling Ledet, VidVox, SXSW Interactive, Mac Specialist, Ableton, Harold Washington College, UnScene, and Clif Bar.





Adobe CS4 Launch Event Review


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Well, the strangest thing of the whole event was the CS4 logo. The webscast was overly professional; it looked like a television show, with fancy animated introductions, realtime cut-aways, great lighting and funny head-mounted microphones.

Overall, Adobe is driving customer expectation. They are making web users expect more from websites, and video on the web is extending website visits to 25 minutes in the case example of BBC, 8 times longer than with BBC’s previous website. They spent a good amount of talk-time on creating communal viewing experiences by moving web content from the PC to the living room entertainment center. Their right of course, TV is being web-ified.

The new CS4 Collections focus on three work flows. Converting print designers into multimedia designers, cross-program integration with video collection, and the “web” collection, which seems to be the real focus of the company.

Ok, enough of my cynical banter, here’s the good stuff:

After Effects:
+ Added Mocha AE, a much better motion tracker
+ Import textured 3D models from Photoshop (see below)
+ Better integration with other video collection apps

Photoshop:
+ Wrap large images around 3D models. Pretty neat.
+ Content Aware Resizing, amazing!
(great video about it: http://www.youtube.com/watch?v=vIFCV2spKtg)

Flash:
+ After Effects style timeline
+ IK Bone Systems similar to the Puppet Tool
+ 2.5D animation

Well, that’s about it. Despite their bad humor the features in Flash & Photoshop are amazing. Someday they will buy a 3D program, then we’ll see some real video enhancements.

Thanks!