Okay. Hello. Good evening, everyone. Thank you. So, welcome for another lightning talk sessions. And I think we start directly with maybe the first few slides. Let me just at least do one slide. Right? The first talker. Hi, everyone. So, today, you are all going to be part of the SuperTux card history. Because our small project is going to release live now, currently, our newest version. So, we have been working really hard the past month. And my team is still tweaking some last minute changes and crazy things like that. So, let's discover the trailer together. Fun playing it. I made a mock-up of a video game using Blender. And the video game is about star formation and how that relates to life and to us and to everything and to science. So, just briefly, I'll tell you the process of star formation. Easy peasy. You haven't seen my research. But this is not the slide. The other way around. Start with the first one, sorry. There you go. So, nebulas, which is gas that is in the galaxy, contracts into protostars, which becomes a star and eventually has planets, if, anyway.  And when they blow up, they form beautiful nebulas. Supernova, planetary nebulas. And that gas contains heavier elements. So, if we start with hydrogen and helium, which is the primordial elements of the universe, one, anyway. We have now heavier elements, which allow for more interesting combination of matter and more interesting combination for planets and eventually life. So, this is the theme of the game. It's a science communication game.  So, and the game is just a cool slide I made in Krita just to show how I'm categorizing stars. And it's depending on the mass. We have the smallest one, the dwarf stars. They have low mass, which are like the sun. They will have massive stars and very massive stars. This is what the players will have control over. They can create stars, and they have control over how massive they get. And that will determine the rest. So, I'm just going. Play the video. Play the video. Go. I'll show you quickly this video. This is the mock-up I made in Blender using the particle systems. So, here, for example, play there. No? Okay, okay. So, this is imagine the mouse cursor is like a touchscreen or whatever. So, players start in A galaxy, and they find a nebula, and then they can go there. Can I like scrub like this? Or, yeah, right? Inside that nebula, which looks something like this, it will look better. But anyway, these are particles forming this nebula. Players can touch and manipulate these particles, which will clump together by gravity. And those clumps will contain a protostar inside, a potential star, right? So, then we go in there and we see this protostar. We have this protostelar disk around. Players can then fling particles with their control, and that will make the star mass increase, and that will determine which kind of star as we saw in the slide before, right? After a time, the protostar contracts until the temperature is high enough. Amazing up there. So, the fusion in the core of the star starts, and now that star is born with this initial mass. It's not so big. It's a little dwarf. Okay. But it will leave forever. Now, maybe they can name it however they want, because they can write whatever they want, really. It will tell you the composition, and those particles that you saw there are the particles that you used in the nebula. And that's the key of the game, using all the colors, all the particles, the different particles in the nebula to create richer stars, right? After a while, sorry, stars blow up, and here we see these new particles. These are the heavy elements, and they are enriching the nebula.  Fast forward in a bit. The game will notify you when planetary formation is happening, and you can go there and check out these planets. It's nice pixel planets, and time is going to work in a weird way, but it's going to be comprehensible, right? So whenever something happens, like a planetary formation event, time for each star will stop, and we let the players enjoy the event, right? Then maybe life comes into a planet, and I will not show what it looks like so much. I want them to use imagination. I'm just going to suggest how these life forms live if there's underwater, if there's a civilization, and even if they became extinct. And they might reach a point in which they are a interstellar civilization, and they will find other stars that you can create, or if you find them evil for whatever reason, you can also create a massive star that will blow up very quickly and eradicate all life in the universe. It's up to you. Anyway, I made these thanks to the nice guys here in the conference last year. They helped me make this script, these people, these night people up here. All these, thank you very much. Thank you very much for helping me with this script that allowed me to do in real time this simulation of dragging the particles. Thank you. I'll ask Flavio Perez to come next. Thank you. Yeah, it was a website link. I sent you. I can type it. Well, this is my default website. It's not showing you. Okay. All right, so I'm standing here in the name of my own little humble company that I started a few years ago, but recently decided to go a specific direction, and you can read it in the tagline. Wait, can I make it fullscreen? Is it grown? Is it what? You can do it here, I believe. Oh, you mean the green? No. How do you do fullscreen? Okay. Let's leave it like this. Okay. I thought it looked very pretty on my own computer, that it is on Windows. Okay.  And those are very, very old buildings created by our ancestors, basically to keep each other safe from each other, because humans are very violent. But these, these houses often were magnificent buildings and some of the most unthinkable ways of building they thought of and constructed these things out of massive stones, and that really captures my imagination. And I want to know the stories behind that. So I go researching, this is a castle in Nellis, for example. And when I go researching online, I find that for most of the bigger castles that had rich, rich people living in it, they commissioned artists back in the day to create drawings for them. So this is, for example, a drawing of the castle you just saw before, but this is a castle called Durstede. It's somewhere in the middle of the Netherlands. And currently there's like a restaurant, but there's just two towers standing and the rest is gone. But if you look at the paintings, we see that it was quite big. A lot of windows and a lot of towers, a bridge and a gatehouse. And those are all different paintings and they're somewhat different times from 1600, 1700. So I took those things and I thought, well, I have Blender, the most amazing tool of our modern day. Let's rebuild this castle. And so I come up with this. I took the inspiration from those paintings, which were black and white, but I also looked around the area from buildings from the same age. What stones would they use? How would they construct their windows and that kind of stuff, because those aren't left anymore. Another castle closer to my home is Castle Poulgeist, which means pool spirit. And currently this is one humble tower that's still standing there, but you can still see the island with trees on it that used to be there. And of this castle also are paintings. And you see one of the towers is from the gatehouse you see in the front. And there's even a painting made and I created this. It's a bit more artistic than the other one. And some other examples, Castle de Herne. But I also like to create ships.  Or some more humble things. Thanks to Sketchfab for allowing me to create this. So this is a tiny mill, which is actually animated. You hear animal sounds. Very cute. I like a depth of field, as you can see. And if we continue, is it going to continue? Yep. Okay, let's go manually to page 7. Okay, this was less smooth than I thought. It's work. I have a little animation of a VR experience I made of Castle Poulgeist. I showed this to people around and with the HTC Vive that I had. And I created this with Blender and Unreal Engine, which is an amazing tool also. So just enjoy. The last slide, as people want to see my information, so it's on video, you can contact me by mail or telephone or website. Thank you. And after Flavio, we have Cléven. Hi, I'm Flavio. I'm representing the small animation studio in France called Le Fais Special. We are here with the technical department. When the first time I came here and I introduced myself to Tom some years ago and he told me, it's great. You should write something about how you work and stuff like that. And it took some time, but we just launched this week, actually this small blog on our website, which is the blog of the technical department. And so it's in English. You can read it. I will skip that. We are a hybrid animation studio, so we do 2D and 3D animations on Blender, obviously. We are going to share technical making-offs and stuff like that. So there is already some presentation of tools, some tips for people coming and starting 2D stuff on Blender, making-offs of projects, for example, but from the technical point of view, because there is often only making-offs from the artistic point of view. If you want to ask us something about how we work, you can just send us an email to that address. There is more articles. As the address is quite complicated, it's like cuisine.lefais-special.co-op. There is also Twitter. I just started it today, so there is nothing yet inside. But you can follow us here and we will provide the new articles and posts we are going to do. And one more thing. Tomorrow, we are doing a talk also here at AFPAST1. We will present the work we have been doing the last year and a half on the feature film of the French director, Michel Oslo, and we will talk about the crowds and stuff we did in Blender, working with the MacGuff company who was working on Maya, but we will talk about that also. That's it. So, thank you. Hi, everybody. Yes. So, I'm Clément. I'm from Carnot Computing. So, we are the guys eating buildings with Computing Eater. So, we have CPUs inside, and we send computation on it. Like rendering. So, we have a fully-featured render farm.  So, we did a little script that has the same argument as Blender. And when you start it, it will not run on your computer. It will start rendering on the website. So, you just have to replace the first line, and it will start rendering on the website. It will synchronize the files, and you will get them back on your computer. You will be able to access the log, and you will have access to a thousand of CPUs in a few minutes. So, we did this to show how easy it is to be able to send computation on the cloud. So, we have a website, or you can use to do your rendering. But we also have a HTTP API and a Python SDK. So, with few lines of Python, you are able to access hundreds of CPUs. So, you can get the script on GitHub, and you can try the platform. You will get free credits to try. And if you have any questions, you can mail me. Thank you. I will ask Florin to come next. Hi, guys. I'm Marius from RenderSuite. I suppose you already have seen the leaflets from your envelope so far. So, I'm not going to bore you with numbers and features and anything. Just want to say two things that we're focusing on. First of all is RenderSuite1, our monthly program. A lot of you have asked for longer end times within the program, and I just want to say that now that's possible. So, now you have an option for that if you want to check it again. The other thing is that we're really focusing on studios right now. So, if you have a studio or just a large render volume and want to have a solution that works for you both in terms of speed and price, you should really contact us because we have something that you will be able to use and that will work well for you. So, get in touch. As it says in the leaflet, it's not lying. There's beer involved if you catch up with me here. If not, you can always reach up to us on email or on our website. And the third thing which is equally as important, I just realized I looked at the at the presenter list and I looked at the movies from the Susana Awards and I talked to all of you that we've seen so rarely once every year. And I realized a lot of you people are using our services and I just want to say thank you for that. And thank you for trusting us with your work and we'll always go the extra mile to deliver for you. Thank you. So, after Ranch Computing, we have Mathieu. I'm Florine. Nice to meet you all. It's my first Blender conference and I'm here to represent Ranch Computing just to let you know that we exist for Blender community now for the past few weeks. I worked on the implementation of the software in our render form. So, just a quick review. We have a pretty powerful machine with 250 CPUs machine with the last test processor of Intel and 32 GPUs machine with 4 GTX, 180 in each. So, 32 multiplied by 4. But along with that, what I want to talk to you about is the human interaction. Because we have the full control of the workflow with a physical machine that are here with us, like we can get up and give hugs to the blade and things like that. Sing them songs. And we also have our own automated system to deploy the calculation. So, if you want to use our services and you have any kind of question or problem, we can give you the best customer support with the implementation of Blender. For example, if you want an add-on that we do not support, just give us a call or a mail and we will, poof, in the day, install it. Like, wow, it's magic. And I'm really glad to be here because I had the opportunity to talk with some Blender developers because as we can use Blender and give a customer a service on Blender freely, we wanted to give something to the community and along with them, we decided to give development time to the community. So, that's why I can discuss with developers of Blender and maybe do great things for this great software. So, I'm glad. And just to give you a quick, quick, quick presentation about the workflow, we propose free add-on named RunChecker that will pack all the things you need into an archive and then you just have to drag and drop this archive into our website and it will wonder, either with CPU or GPU, you have different priorities, et cetera, et cetera. The good things is that you can look at the server's activity in real time with logs and something like that, the CPU usage, et cetera. And you have also another plug-in, three, two, name Ransh Sync, either for Windows or Mac. RunChecker is also either for Windows, Mac or Linux. Ransh Sync will download your frames as it's rendered. So, either you can watch the server's activity, some previews and automatically get your frames while the render is running. And so, if something goes wrong, for example, you can just click on the stop button and don't lose money. So, that's it. Thank you for listening to me and have a good Blender conference. After Matieu, we have Miroslav. So, hello, I'm Matieu. I'm waiting for my PDF to be found. Maybe if Miroslav is here, can you do the presentation first? Yeah, sorry. So, hey, my name is Miroslav. I had a presentation last year here about virtual terrains or landscapes made with Blender terrain tools. That's an add-on I made, I've been working on, last eight years, I guess. It was a tool to help me create landscapes for games or military simulation. These are really huge landscapes like open worlds. And I got quite positive feedback after the conference. People asking me if I'm going, if I'm willing to release it. And I was really like, that's quite a lot of work, but something magically changed at the beginning of the year. And so, I slightly changed the name. It's now called Blendscape Tools. I guess it's better fit. What do you think? And yeah, so, it's already out, but there are like separate stages of the implementation from the older system because quite a lot of people are actually willing to use Blender or start learning Blender just because of this tool. So, I have to make it really straightforward for them. So, yeah, so there are already just a few features like sculpting, which is nothing really new for Blender. But as I said, as I'm trying to do it a bit more straightforward, I basically move the sculpting tool from the tools, or you have to typically go to change the object mode to sculpting mode. But this is right now in the tool on the right, Blendscape Tools. So, you can just enable it from here as well as like surface painting, which is basically the textual painting mode, but it allows you to paint like grass. If you do game development, you basically know what I'm talking about. Another cool feature is, or I have to mention that I used it for RV Engine, which is an engine we use in Bohemia Interactive for titles like Arma Series or Daisy. And so basically it was at first place, it was meant to be used or export to this engine. But in last years, I also bumped into Unreal Engine Unity and CryEngine and other engines. And I realized that actually I can, or my tools can be used also to export it to these engines. So, basically at the beginning of the whole pipeline, you basically just choose which engine will be the final engine. So, there are even more features right now, like not just the sculpting mode, but to edit terrain, you can also, if you have, for example, some model placed on the terrain and you need to somehow edit the terrain. And for example, make a platform. It's sometimes really hard to do it with the sculpting mode, basically when you need to get some specific shape. So, this is one of the features where you basically just select the object, click a button, and it adds this modifier. So, it's modifier that means that if you later realize that the building has to be moved somewhere else, you would have to, again, sculpt the terrain or do some changes. With this, you just basically move the building and the terrain changes goes with the building as a modifier. So, yeah, this is also an example. So, you can do like really like exact modeling of the terrain based on a mesh. So, you just extrude scale, whatever. There's also possibility to edit terrain with splines. This is good for, for example, if you have a road and you need to flatten the terrain under the road, especially in this deep terrain, you just draw a spline and it gets flattened. Oops. There's one slide missing. Never mind. Oh, no, no, no. Never mind. Yeah. So, another feature which is not here but getting there is like possibility to play its objects. From a library, you can basically set up from other assets. I'm actually looking for the asset management features in a new engine. It will really help my tool. Also, like automated placement of objects. So, if you have, for example, geodata representing the boundaries of the forest, you can use it to place vegetation. So, this is, for example, the, this is the example from Daisy. I used that my tool to place forest with millions of trees in a few seconds. And from following features, I guess, what I'm working on now is something that I never found in any engine. It's some more advanced tool for road network creation. So, like multiple lanes, rendering the, preparing the textures, UEs, and so on. And I'm actually, I work in this gaming engine, sorry, the gaming industry, like over 10 years, but so I can cover quite a lot of stuff regarding the landscape development. But I would like to have you to share some ideas if you would like to use the terrain. I'm really open to add features for you. Yeah. And of course, in the garage, I forgot to add my contact, but just stop me wherever. I'm going for the, for the dinner as well. We can discuss it. There's a YouTube channel. Just subscribe. There's just one video showing how to install. There's, it lives in the GitHub and also some more description. It's on a BI studio forums. And I also recommend you to watch the last year presentation. So you probably get some more information. That's it. Thank you very much. Hi everybody. So I'm Henry. I'm a freelance CG artist based in France. And I'm a member of the RGBA collective. And I'm going to present to you my personal project I've been doing for the last few months. So it's a short film about space exploration. It's a very contemplative short. So I'm going to show you first a small teaser. So as you can see, there are still a lot to do. And for the second part of the movie, the rockets you've seen will be joined with many, many other rockets. And as I'm working alone in my movie, I didn't have time to model all the rockets. So I decided to create a script that will generate rockets. So it's a rocket generator script. And I'm going to show you just a small teaser of what it's capable of doing. All right. So as you can see, it's quite simple. So you just have to model some parts of the rockets. And then you have a simple naming system. And the script will generate every random shape possible from it. So it's available on my GitHub. And if you want to use it, just use it at your own risk because it's a production script. So it's not really intended for general usage. And one last thing, if you're interested in space stuff and real space stuff, I'll be having a talk tomorrow at 2 here about our work at Airbus with the space interesting space stuff. So thank you. So we're also tracking my time. So I'm starting that already. So yes, hello. Nice to see you all again. I have this small thing that I wanted to share for quite a while. And I'm talking to Australia right now because I'm writing with David for a long time. I marked up this reaction diffusion pattern thing. And to show you how it works, I just made a small screen capture today how the last version of this thing works. Basically, it's a tool to generate reaction or gray Scott reaction diffusion patterns inside of Blender. And it's not some script trickery. It's not some plug-in. It's just basically taking images in the compositor, blurring them, blurring them again and then subtracting this. But this is not important for you. If you download this on a Mac, so on Windows, somewhat it breaks. I don't know this on the Mac and I hope on a Linux machine, you will be just to able to download my file, draw something into this image editor. And afterwards you will get this transformation going on and have the thing flowing in this reaction diffusion pattern. That's basically it. I chose Gumroad as some kind of platform because I just want to try it out. Feel free to visit the website. It's not a paid thing. You can just enter a zero here and you will be able to get the file. Download it, have fun with it and it's just like a platform to generate this kind of pattern. And the fun thing is always when you generate one of these patterns you get the animation to this pattern for free. So we'll get always the start image and then it will morph into the last frame. And this will look something like this or something like that or like that. So it's just a small difference, but you can really play with the parameters. And as it is the diffusion of two fluids inside of a uniform volume, you will always get patterns that look really organic and really the pattern of an animal or in a natural environment. So feel free to download this. I can just open the link once again and have fun on the conference and show me how it works for you and tell me if it is fun and make some amazing Blender art. Thank you. Hi guys. I just wanted to talk a little bit about the American demo scene, which is not anywhere close in size or let's say size, because the enthusiasm is definitely there as what you guys have had here in Europe for a while. It's definitely inspired by that. It's kind of got the same kind of stuff going on, whether that's music or art or any kind of creative computing and just getting all together and making something cool and showing it off to your friends. That's what it's all about. Do we have any other demo scene people in here?  Very enthusiastic. I like it. I've been involved in this in mostly the Boston and New York demo scenes for about six years now. We've got a couple of events that are really cool. The first one, here we go. We've got some music going on. I've got some, let's say I'm not sure this is going to play. This is a synchrony that was just started a couple of years ago. I went to the first one and the second one. It started as kind of a spin-off of at-party, which is the Boston one that's been going on for some years. Because after at-party one evening, we went out for beers and said, hey, let's do a New York one. We're like, okay, let's do it this year. We did that. This past year, for the second one, we ended up going New York City to Montreal. The main event, we start in New York City, do a chip-tune concert and dance party and just hang out for a bit. Then we get on a train to Montreal, which is about 11 hours through the snow in January. It's very beautiful and it gives you plenty of time to sit there and work on something. Being a train party, we went portable. Somebody brought their C64, a little display and a little solid-state disc thing because they were doing a music production. Here's what I brought. I brought my lightest laptop that I could do and a Raspberry Pi because I wanted to learn how to use that. There's a little close-up. I wanted to do some kind of graphics on the Raspberry Pi because I'd never done it before, pretty much. There's a couple of my friends. They're working on the C64, a sid-tune, to show off by the time we get there. Most people work on the things. You don't have to work on everything on the way or at the party, but it's kind of a traditional to come up with something while you're there. The whole time, going to, on my way to Montreal and on my way back, which is a weekend trip for me, I knew at-party was coming up. That's my main event in Boston. I wanted to do something with dot matrix printers. I was like, this is nice. I love all this portable and doing all this stuff, but I know I'm driving to Boston next time. I want to do something with a heavy, loud dot matrix printer. I'm not sure what, but something. As soon as I got back home from the trip, I went on eBay and said, okay, here's the model of printer I've always wanted. I saw one of these in a truck stop printing out forms or reports one day. I said, one day I'm going to get one of these. I couldn't get one. I had to get a lot of three for parts or not working, but there was enough in there to actually make one really good dot matrix printer. So I got that going and tested it out days before the event, hooked it up to my Windows 95 laptop over the parallel port and got some nice test printing. My cat helped me out a little bit testing the laptop bag. Looks like they're very comfortable, very helpful. The print results were pretty good, and I said, okay, I can do something with this. I'm not sure what, but something. But what do I make? I've got the trip coming up in a few months, and I don't want to start on anything until maybe a week before even looking at it. And I could do some ASCII art, something just printed out traditional, like print out a banner or something. I don't know. An image, I'm not sure. Maybe I could just connect and have the sounds of the printing. That'd be my production, and that'd be the piece of art that I'd create. And that's what I was kind of going for, but I wasn't really sure until I got to the place. And sitting at lunch at at-party of the day of submissions, I thought, you know what, I want to make an animation on my dot matrix printer. But to do that, I need to come up with a blender to dot matrix printer production pipeline. And it's due in six hours. And so I played around. I got set up that morning and started printing out some test pages. I was like, okay, well, everything works. Everything's good. But how do I get it from my modern Mac running blender to this Windows 95 laptop running Windows 95 into this printer and have something cool? And so I ended up just doing, as far as what I was going to make, I didn't really care. It didn't have to be fancy. The whole point of it was to make something and print it out and have a little flip book animation. And so I made the at-party logo. I modeled this in blender after I just grabbed a screenshot with a website and said, okay, here's a logo. Let's do it. And it was nice because I learned that I'm usually a developer on Blender. But apparently, I know how to use it too a little bit, which was nice. It was a surprise to me too. And so I modeled, I did a little animation, a little looping animation, 24 frames a second, exactly 24 frames because I had to print all these out and cut them out. But it was nice. And then getting it over to the computer that can actually run the printer and getting it in a form that it could understand, it was all very exciting. And so here it is, just, you know, my little logo there. And there's the same thing on the Windows side for the output. And it was fun because, well, I'll get to that in a minute. But basically, it was an event kind of like this where we had talks interspersed with demos and interspersed with things. And so when anyone was talking, I had to pause printing because it's very loud. And it's only one big room. And so that put a little hamper into it. Let's see. And so the pipeline kind of ended up like this. On the Mac side, my main tool was Blender, of course, for pretty much everything. But then the output, I was doing individual output images. And getting those over to the other side, it only had a floppy drive.  And so I would put the files on there, just the individual images, and bring them over here. But what I found is I figured Windows bitmap would work because Windows, you know, they kind of came up with it. But apparently, no, the version of bitmap that Mac's preview can understand came out in Windows 98. And so Windows 95 has no idea how to read those files. And I thought, well, what about JPEG? Again, it didn't work out. And peeing images would, like in 95, they were just coming out. And so there wasn't any support in Internet Explorer. It was either two or, I think this is 3.0 that I had. So it's pretty modern. And so what I ended up doing is having to do a lot of the work on the Mac side, basically render out the individual images, make a web page that just had the images on it, so that I could resize that window in Safari, take a screenshot of that, and then send the individual screenshot via floppy disk over to the other system. Because the older version of Internet Explorer wasn't able to handle that. Okay. Oh, and the last thing on here on the bottom is LemkeSoft's graphic converter, which is very important for getting GIF images, which is I ended up using that. And so I'd export the things in there. Ping didn't work. Bitmap didn't work. JPEG, I didn't even think would work, so I didn't even try. GIF 89 worked great. The file sizes were another thing because the transfer medium was a single floppy disk. And so getting, I could do multiple trips, but it was taking a long time, so I was like, I want everything to fit on this disk, so I can just render, convert, send it over. Apparently, there's no print preview on Windows 9.5, which surprised me because I was like, well, what is this going to look like when I print it? It was like, what? Just print it and see. And that was the solution. And so I had to do a lot of test prints to get it right, and there was a lot of things to get right, like how big do I make my images so they fit on the page? How many images can it fit on one page? And once that got working, it was nice, but then it was like, well, what kind of dithering should I use to make it look good? What kind of contrast do I need for it to print well because it's black ink on white paper. Some things look good, some things don't.  And so that was a round trip back to Blender to adjust the material. And it was really interesting because knowing a targeted where it's going to end up was nice because you work in only grayscale materials.  And also, like I said before, the noise level was it kind of impacted my iteration times because I had to pause printing whenever somebody else was giving a talk. And basically this is what I did. I rendered out individual images, made contact sheets of those in Safari, took a screenshot, converted it to GIF, put it on a floppy disk, brought it over to Windows, Internet Explorer, which had a nice printing dialogue with dithering options and all that. And so it actually did the dithering on the Windows side and printed it out, cut them out with scissors, which took as long as printing it out, and basically stapled these together. I wish I had brought some, but I gave them all away at the app party actually. And stapled them together and it made a one second, 24 frames a second animation. If you want more than one second, then you just print two copies. And yeah, basically ended up like this. And if you flip it very evenly, it looks nice like this except dithered. Yeah, and that's about it. But if, yeah, go ahead. Yeah, for those of us in the East Coast US, come to these. They're fun. They're really fun. It's okay for the five minutes. Yeah, we'll do it. You need to go to that link? That's the top one. Let's see if it works. Okay. I'll just put it here and let me just try something for you. Also go to, with another window, you could go to YouTube. Just deli code. D E L E. Yeah. And then you just take the deli code and the top two videos are the ones that I'm going to play. Okay. Okay. So first the videos and then this. I don't know how to. You can maybe download it. Yeah. Can I play it? Or maybe I just don't think you got it. But anyway, first two videos and then just I can, I can control the videos. Maybe it's better. Yeah. Yeah. Thanks. Okay. Hi, everybody. My name is Julius Thomstow. You might remember me from a background of running a complicated deli code and who's been developing a software called Enamit for some years. And I work daily with Janne Karhu, who used to be a developer for Blender. Did the particles engine that everybody hates? Everybody has to use. Anyway, so basically I'm talking about volumetric video, something that we've been building for many years now. We have a background of interconnect, obviously. And what you're seeing now is a preview of our 2D version of a VR video, a volumetric 3D VR video that we created. Oh, some nice, let's put the ads off. This is obviously running in Unity, if you can spot the typical shader. All the more, of course, all the assets on Blender. But anyway, that's not the important part here. This is, if just the concept of volumetric video just so that you kind of get what's happening here is basically we were using multiple kinetics, in this case three. We put them in a 120-degree angle relative to each other, face them directly towards the center, and then we basically scan people in in real time. And then we project that information back into Unity, in this case, and then basically render out through some tricky shaders. We rendered all the information out and create this illusion of volumetric. So basically, you can then, as I'm walking there, you can basically look at these people from any angle, even after the performs have been captured. This particular video has a very kind of stylistic view in this one, which I'm actually showing off here. We're also using the texture in a more realistic way. Obviously, the quality, what it is, what it is, we have a lot of issues with the technical related to the kinetics, a lot of kind of technical things that you can't work around. But in any case, I'll just skip these and go to this, how the technical part works. So basically, we're calling it capture space. The ideas that we're placing these kinetics at the corners relative to each other, and the capture part where all of the kinetics can see is the part that we try to keep the actors inside. So it's the triangle right in the middle. So it's the cross-section of the three sensors. And within that space, the actors are totally free to move and so forth. And this, of course, applies also in the vertical. So depending on what kind of a scene we're, and what kind of a volume we're trying to save or capture, we're kind of having to use different angles to put the cameras into and try to optimize the volume, depending on, for example, in the circus scene, we had to kind of also cover a lot of area towards the ceiling.  So that's about four and a half cubic meters of volume. So we basically then moved the sensors away from the center and tried to cover a bigger area. Or then you could kind of place the sensors closer and only capture the upper part of the body, for example, depending on what you want to do. But basically, I mean, obviously, what are we using Blender for? We're using it to model all the virtual space where we place the actors into. And then also we're using it to study, to do these pre-studies of how do we place the sensors basically into the space. So because we have the direct field of view of the sensors, we can study how to place the sensors the best in order to get the scene and the best maximum quality for that particular scene. It's an interesting thing that I kind of figured out, because we've been doing this for a while. And I kind of feel that it's an interesting topic for the future also, maybe for a real talk here somewhere. And it's basically that if you think about VR and AR, how do you create content for these mediums in a kind of meaningful and way that you don't kill your client or at a budget that doesn't kill the client. So if you think about volumetric capture, it's a real alternative to doing just 2D or 360 video. And basically, there's a huge gap between 360 video and motion capture, obviously. Motion capture costs a lot of money if you want to do it properly. So how do you kind of take, let's say, a 15-minute circus performance and how do you put it into VR in a meaningful way? You can do it with kind of simple tools that are out there today. Finally, yeah, okay, yeah, okay. So finally, I just wanted to say that anybody who's here also tomorrow, I've been showing it to some people. I hope Joey, are you here? Is Joey here? Okay, he's not here. He's watching. Joey's not here, so I might as well show this picture. So if anybody wants to try out the system, they're welcome to try it out. I hope Joey's not going to kill me at the picture. I took it earlier at the hackerspace. In any case, yeah, that's basically what we've been doing for the past year. I hope some people are interested and come talk to me afterwards. I think that it's an interesting technology also in terms of making movies in the future. So the fact that you could capture somebody and then basically later turn the camera angle to another direction, I think that that holds, even though the quality obviously right now is not up to par to any kind of AAA stuff, then I think it's an interesting prospect. Thank you. Oh yes, perfect. You should change your setting to be like 1080p, not 1080i in the graphics card, and then 50Hz if possible. Oh, that's right. That's right. And then the one... I'm not good in French, but what does the... Olive, you? Okay, I think it's... Usually you have like the refresh rate of interlaced to take the screen, but now it's not way to change the refresh rate.  This is a black magic. Sorry, it seems as difficult to use a USB stick on his Mac than a floppy drive on Windows 95. We tried two USB sticks and it is a lighting talk, the PDF, I think. What about this one? Can I use this one? No, you're the one you want. No, it's not the good one, this one. This is the good one. No, it's not to be... Okay, it's all press, no? I have it in the case. Yeah, yeah. You have it? Okay, we're saved. Sorry. Okay, last, but not least. So I'll just show you a very few examples of 3D printing I'm doing in the fablab of my city, where we swear to never print your head anymore. So it starts with one of the most basic, it's called the ecosphere necklace, so I think you guess how I modeled it. In fact, it was not that easy because every ecosphere has a different size and the hole in the ecosphere must be the same size or the wire doesn't fit in. It's printed in bronze feel, so you can polish it. This is a variation just with a modifier, displaced modifier with a wood texture and every small pearl is different, so no one is the same and if you move on the scene, you get different shapes. So this is a lamp that I broke. I broke the original one that was in glass, so I repaired it and I made it nicer. It's just two curves. You have one curve, one circle, you select half of the points, you scale it, then extrude it along another curve, rotate, and that's all. And we printed it on a big, it's this size. We printed it on a big 3D printer, an open hardware one, a Vulcanus Max, and there is a light inside on the light at the top, so it's playing very well with the light. So I got very fond of long shades, so those are very basic ones, it's just, you know, it's modeling, you move vertices. And the other one, the bigger one, is quite more complicated, it's just basically it's a cylinder, and then there is a solidified modifier, and then you duplicate it, link it, and you do wireframe modifier, and you make a boolean between both of them. And as it's linked, you can change the shape of the lamp and choose the one you want. And then you have to print it several times to find the thickness that let the light pass through the 3D printing. And it makes something that it's much less regular than the model, and this is what is nice, is that the effect in the 3D printing finally turned out to be something nicer than what I expected. So when you have failed the 3D print, just put a light in it and it will look fine. So this is another try that I did, so it's, okay, it's a mesh, a basic mesh, with a display modifier on Voronoi texture, and then I use clay, natural clay, this is not 3D in blender anymore, to fill the gaps, and then you just clean it, so that you get the transparent plastic that let the light go through, and when you light it up, it does some things like that. And so I was very happy with this one. I was working with a school, in a school in an art class, so we tried to make things, this type of things, but simpler in the school, so this is what I will show you. So to start with the children, there were 12 of them, and I think 13 years old. So we started with a very simple exercise, which is using the array modifier with an empty as an object. And we made the link with the math class, so how you take an object and you make a rotation, then a rotation, then a rotation. So we talked about Fibonacci, I don't know how you call this, Fibonacci. And so all of this has been done by the students, so they start with a simple curve, and they play with the empty object, and they choose the orientation, the number of copies, and things like that. And I just prepared the file at the beginning, so that they all have the same size of the curve, and they have one empty that is already here to make it simpler. And then they draw some of them, they draw the shape, the outside shape with curve, the one that were quite at ease with Blender, and the other ones that found it too difficult to just put a circle. So the second step was to put some clay in it. So I love Blender, and I love clay too for buildings. And so I use it for my test with the children. So it's basic clay mud, and you put it on it, and then when you clean it, it let the light pass through. And then we hung it to make a mobile, and it was playing with light very well. So the children were very happy with the results. And the teacher wanted us to see what we can do in a maker space or a fab lab. So we went a little bit further. We turned into a real 3D before it was 2D on the half, and they modeled those things, very basic shapes. Okay, I still have 32 minutes. So very basic shapes. We did a little bit of electronics with Arduino programming, and the clay again. And so they designed the lamps and programmed the Arduino to make the color change. And that's it. Thank you. So this was just before last one, because we have a last minute invitation. So I think it was the last one. So that was my question. Did I forget someone maybe that asked me to do? No? What? No, okay. So Stephen, you can just wait. Did you put it here? I put it there. I think here's a better experience. Anna Mack doesn't understand it. Is it shown? No. So what you see here is metaballs, and then export to Alembic, and I quit. And then import Alembic. There you go. Yes. I was asked to mention that he just asked for this yesterday, so I've been hacking on it today.


The trigonometric functions are extremely important in pre-calculus, so, no surprise, the integrals of trigonometric functions are very important in calculus. If you only remember one thing about the trigonometric functions, you should probably review your trigonometry. But one thing you should remember is that the trigonometric functions are related by several useful identities. In particular, there are what are called the Pythagorean identities. For all x, sine squared of x plus cosine squared of x is equal to one, and tangent squared of x plus one is equal to secant squared of x. And there are also identities involving cosecant and cotangent, but unless you have too much free time on your hands, those identities are probably not worth learning. So let's consider the integral of cosine cubed of x. So what do we know? Well, we do know the Pythagorean identity, and that means we can say something about cosine squared of x, and so this integral is the same as the integral of one minus sine squared of x times cosine x. And we can fall back on a u-substitution. If we let u equal sine of x, then cosine x dx is going to be du, and so. And that gives us anti-derivative u minus u cubed over three, putting everything back where we found it, and including our constant of integration. How about the integral of tangent squared x secant to the fourth x dx? We'll use our Pythagorean identity, and what the heck, we can solve this for tangent squared of x. And so we can substitute that in, but it's not entirely clear what we should do at this point. While we might get this to work, let's try something else and see if we can do this more easily. So let's flip that Pythagorean identity around, and use secant squared equals tangent squared x plus one. And since this is a secant to the fourth, that's really secant squared squared, so we'll make that substitution. And again, it's not entirely clear how we want to proceed from this point. Well, third time's a charm. We remember that the derivative of tangent is secant squared. And so one possibility is maybe let's keep one of these secant squareds and convert everything else to tangent using our Pythagorean identity. And now we can try a u-substitution with u equals tangent x, and du is secant squared of x dx. Now we can integrate, and putting everything back where we found it gives us our definite integral.


Let us solve the problem today. Draw the class of the equations x-y plus 1 is equal to 0 and 3x plus 2y minus 12 is equal to 0. Redamine the coordinates of the vertices of the triangle formed by these lines and the x-axis and share the triangular region. Now, given equations to us are minus y plus 1 is equal to 0 and 3x plus 2y minus 12 is equal to 0. Now, let us find the corresponding values for x and y to plot the graph. We will write the corresponding values for x is equal to 0, y is equal to 1 and for x is equal to 4, y is equal to 5 and for this equation we have for x is equal to 0, y is equal to 2, y is equal to 3. Now, let us plot the point 0, 1, 4, 5, 0, 6 and 2, 3 on a separate graph paper. Now, this we have as our graph paper. So, plotting 0, 1 first taking 0 on x-axis and 1 on y-axis we get this point as our 0, 1 naming it as a we get our required point. Now, plotting 4, 5 taking 4 on x-axis and 5 on y-axis we get this point as our 0.4, 5 naming it as b we get 4, 5. Now, joining a and b, point 0, 6 taking 0 on x-axis and 6 on y-axis we get this point as our 0, 6 and naming it as c and only d plotting d as 2, 3 taking 2 on x-axis and 3 on y-axis we get this point as our join CD and we have got this line. Now, this line is our equation x-y is equal to minus 1 and this line is 3x plus 2y is equal to 12. Here we can see that a triangle is formed with vertices 2, 3 and here minus 1, 0 this vertex and this vertex that is 4, 0 therefore required vertices are this one is f so comma 0 d is our solution d as 2, 3 so we write 2, 3 comma 0 comma 0 therefore this is our required answer. This CD portion is our required triangle. We answer the problem by and have a nice day.


Hello everyone. Bonjour à tous. Right now, we're all dealing with the health and economic impacts of the COVID-19 pandemic. Job one is to do whatever it takes for as long as it takes to protect people and economies from this virus. But as we work to keep people safe today, we must also plan for the recovery of tomorrow. And that must include an ambitious plan to take strong action to fight and build resilience against climate change. Because climate change is a crisis affecting our health, our economic prosperity, and our planet. Young people understand it better than anyone else. They know that we must protect the vegetable and animal species, restore the balance of nature and preserve our planet for future generations. And they count on us to act now for their future. That's why Canada has outlined a strong climate plan that will adapt to the impacts of climate change, create jobs, and build a cleaner and more competitive country for everyone. We're investing in infrastructure to protect Canadians from climate-related disasters. We're addressing the effects of climate change on everyone's health. We're supporting communities that are most vulnerable to the impacts of climate change. We're working with Indigenous partners to restore and protect our lands and our waters. And we will use nature-based solutions to fight this crisis, too. It's why we're planting two billion trees in Canada. And together with Mexico, we're leading the Global Commission's Nature-Based Solutions Action Track to find more ways to use the power of nature to protect it. And we're continuing to work with international partners to build a more sustainable world because to effectively fight climate change at home, we must fight it everywhere. But to continue to take on this challenge, we need the voices of young people. That's why Canada supported the Young Leaders Program for the Global Commission and why we welcome the launch of a new Young Leadership Program to bring together the next generation of leaders to help tackle climate change. So thank you to everyone for joining us in this fight. And thank you to the young people for stepping up and getting involved. Together, we will build a cleaner, safer, and more competitive world. Thank you. Merci.


And welcome to your daily Barnes takeout. I'm Karl Walsh. I'm a post-doctoral fellow here at the Department of Research, Interpretation, Education at the Barnes. And today I wanted to take you back to the American Southwest. And if you remember from my last takeout, which looked at a Zuni Pueblo water jar, Barnes was really interested in Southwestern art through his experiences and visits to this area in the early 1930s. And the primary reason that he was doing these visits were to help his wife Laura Barnes recover from a sinus condition that she was suffering from. And they wanted to go somewhere that was, you know, warm and arid that would help her recover from this. And so they chose the Southwest because they had some recommendations from friends and also because they were interested in general in the art of this area. And I think they really enjoyed this trip. And this is really evident from the amount of material that they brought back with them, including textiles and ceramics and jewelry. And the object that we're looking at today is one of these objects, things that they brought back from Southwest. And it's this really nice Navajo blanket, which is part of the east wall ensemble of the mezzanine, which is now located midway on the stairs up to the second floor at the Barnes. And I really like this ensemble because there's some really interesting kind of communications and engagements between the pieces that both kind of complement and contrast each other in interesting ways. And I'd really like to talk about this ensemble in a little bit more detail. But what we'll do is that we'll have a look at the blanket first, and then we'll come back to this ensemble and think about how it works in this overall assemblage of pieces. Looking at this blanket, you can see that it's a wonderful piece of textile. And this is a really good example of the type of textiles the Navajo were producing in the late 1880s. And this type of textile is very much a Navajo production, but a lot of the Navajo textile weaving traditions and technologies were probably influenced by Pueblo weaving technologies as well. And the Navajo were neighbors to the Pueblo peoples. So kind of linking back to that Pueblo water jar I was looking at in the last takeout. And these are really multi-adaptive types of textiles. And to the Navajo, they could be many things. They could be clothing, so particularly things that were worn on the shoulders. They could be door coverings. They could be wall decorations. They could be rugs. They could be blankets. So they had a lot of different things that they could be and be worked into. And these textiles were largely produced by women, by Navajo women. And they were made on vertical looms, which allowed them to be really large and to make really large textiles. But it also meant that they often took a lot of time to make as well. And this could range from a couple of months to even years as well. So they're very time-consuming objects to make. And this, of course, means that they were really valuable as well, with so much effort put into them, into their production. And this made them valuable both to Navajo as a way of clothing Navajo peoples and families and communities, but it also made it really good object to export as well. And was very popular both in indigenous markets and later in American and European markets as well. And looking at this market, I think you can really see why it's so valuable. It has these really entrancing patterns and really engaging colors to it. And the patterns that you're seeing in this textile are the result of distinctive regional traditions of Navajo communities who developed their own colors and designs that were passed down through generations. And because it's a regional product that's very kind of distinctive local communities, it's often possible to identify these types of textiles that are in museum collections based on the designs and the colors and to be able to kind of locate different Navajo communities that were responsible for their production. And looking at this market, it seems to be influenced by the Ganado style, which comes from the Navajo evers and trading depots in the area around Ganado, Arizona. And this style features this really vibrant colors, particularly with red and yellow and white and black that you can see in this example. And they have these really intricate designs to them as well. So you can have these kind of checkered diamond and X patterns. We have serrated diamonds here and some star patterns. And these all interlock with each other to create this really intricate geometric pattern. And these patterns are also really interesting, not just because they're visually appealing, but also because they create these kind of optical illusions as well. And so I'd like you just to have a look at the entirety of this textile, take some time to just really look at it. Don't focus on one area in particular. And what I think you'll find is that as you're looking at it, that checkerboard white and black design really starts to kind of hover above the red field that's behind it. And this kind of creates this illusion of depths and layers as well and also kind of an illusion of movement kind of as well. And this really gives these designs a sense of energy and movement to them. That is really interesting. And a lot of Navajo textiles have these types of illusions in them. And you can see them in the other examples in the ensemble this blanket is part of, and in other Navajo textiles that are in the collection as well. And so with that, I'd like to kind of just return back to the ensemble and think about how the colors and these optical illusions kind of interplay with the other pieces that are in the ensemble as well. And for me, one of the key observations that I kind of have is that I really enjoy the way that the textiles interact with the sculptures. And I think it just bears repeating here that, you know, Barnes really intended everything in this ensemble to be its own kind of actor and to bring something unique as well. So these aren't just kind of framing devices behind the sculpture. There are active actors in the entire ensemble that are working together to communicate different kinds of messages and ways of interpretation and connections between everything. And for me, what I find kind of interesting is that we have both kind of complimentary and contrasting and disruptive connections between the ensemble pieces here. And these two are Navajo blanket and this example here are really good are particularly interesting because they have sculptures that are in front of them. And by placing the sculpture in front of the textile, you're actually kind of disrupting and interrupting the optical illusion of the textile behind it through the silhouette and breakage of the the statuary that's in front of it, which is interesting in the way that this kind of Barnes obviously intended some kind of like disruptive and contrasting effect to work between the statue and textile. And what's also interesting is that while there are these disruptive elements, there's also really nice complimenting elements as well, particularly in the types of colors being used in the color palette and vocabulary of the entire ensemble. And if you have a look at the at the statues, you can actually see that a lot of them share the same colors as the tapestries, they're just more muted, they're, they're more subtle. So we have these remains of things like red and kind of yellows and blacks in the sculpture that are really mirroring what's happening in these tapestries. And the natural color of the stone is also contributing to this as well. So we have, you know, whites and grays and dark kind of blacks and grays as well. So the textiles in the sculptures are really kind of communicating to each other through color. And it's really working as well to help heighten the hue and kind of saturation of the color in the tapestries as well and the textiles behind them. So it's really interesting to see how we have this both disruptive and contrasting effect and also complimenting effects as well, that really bring this energy and I think interest to this ensemble as well. So next time that you're in the barns, please do stop and have a look at individually all the Navajo tapestries and textiles that you find and try to look for these kind of optical illusions that you can find in them. So think about how they work with the ensemble as well and what your kind of own personal interpretations of what how things are working in there. And what you see as well, which is, you know, equally valid and that's what Barnes intended for the ensembles was to see connection and new interpretation and things as well. If you're interested in the Southwestern art, please do look out from the future. Dr Lucy Fowler Williams at Penn Museum is making a catalog of this material. So have a look out for that in the future as well. I hope you've enjoyed this takeout. And if you haven't already, please subscribe to the channel to get your daily serving of art. And please leave a comment below as well. We really enjoy reading these and responding to them as well. Please take care, stay safe and enjoy this beautiful day. I'm Tom Collins, Newbauer Family Executive Director of the Barnes Foundation. I hope you enjoyed Barnes takeout. Subscribe and make sure your post notifications are on to get daily servings of art. Thanks for watching and for your support of the Barnes Foundation.