NuFormer's interactive 3D Mo-Cap projection technology has arrived!

The Magic Lantern, credited to both Athanasius Kircher and Christiaan Huygens in the early 17th Century, was perhaps the first use of projection mapping, enthralling audiences across Europe, conjuring visions of deceased relatives and demons in dark parlours and dirty alley ways. However, in 1802 Humphry Davy created the first iridescent light by passing a current through a thin strip of platinum and from light bulb to overhead projector, the magic lamp became something very magical indeed.

Today, Netherlands based NuFormer are perfecting and utilising their own developments in 3D projection mapping, recently adapting the technology to include motion capture capabilities. This, the latest in a long line of pioneering advances for one of the world's leading 3D projection mapping companies for the company, who are confident these new advances will see the face of public marketing change forever...

The Tower prior to the projection

Picasso: What was the inspiration behind this new Mo-Cap tech you've developed? Was it demand, or was it the next obvious step? 

NuFormer: Mocap Mapping was Rob’s (NuFormer’s MD) innovative idea to combine a real-time motion capture setup with a 3D video mapping projection setup. On-site an actor in a motion capture suit impersonates the 3D character in the video mapping in real-time. The actor can see and hear the audience and talk to them directly, creating spontaneous and live interaction.

This combination is extremely versatile because every separate element of the show is custom-designed, from the 3D character, to the smaller pre-rendered animations (such as the elevator in our test) and the ‘environment’ (the time machine). For the test we created ‘Perry Dox’, a stranded time traveller from the year 2525.

 

Mocap Mapping can take very many forms. A brand can for example use it to launch its new product in a unique way. But the 3D character can also be a brand’s mascot, a dinosaur or a soda bottle; anything really. The essence of Mocap Mapping is that it offers an original, inspirational and highly interactive experience for the audience.

 

The crowd stare up in wonder

P: How long did it take to develop this until it was ready to test live?

NF: The idea for Mocap Mapping had been around for a while. In 2011 research was done to see how and if we could make all the different systems and techniques come together. Also we put together the best possible team for the test. In January an official start was made with the preparations for the test in March.

P: Is there more for you explore and develop in the 3d projection world?

NF: We are continually searching for new ways to integrate interactivity in 3D video mapping projection. We are very keen on developing new innovative approaches in-house. Continuous research and development is highly important for us, it is after all one of the reasons our clients come to us. We believe that 3D video mapping still has a big future ahead of it. 3D video mapping has potential for so many different industries, from the entertainment industry, such as theme parks and the marketing and PR industry to name just a few.   

The crowd turned up to see this new technology in action

P: What would be your dream location to use this technique?

NF: We would love to surprise an impressive square filled with people with a spectacular Mocap Mapping projection on a large monumental building. It would show the next level in Mocap Mapping with multiple 3D characters in it that all interact with each other and of course with the audience. 

The Way We Were...(n't)

Here at Picasso HQ, we stumbled across a marvelous and totally relevant find for the upcoming Jubilee. Would you believe, HRH Queen Elizabeth visited Picasso Pictures soon after her coronation in 1952, such an honour! Then we found some rather fun snaps of us all in the fashion of the day, doing the things we loved to do, haven’t we aged well?!

So Happy Jubilee everyone! We hope you all have a marvelous long weekend and the sun shines on each and every one of you.

From all of us at Picasso Pictures.

x

Her Majesty at Picasso HQ 1952

Anyone for Cake? says Mel.

Sam made a lovely cuppa.

Jane still only drinks tea from bone china.

Did someone say cake? said Rich

Amelie in Action, she had quite a swing.

In Correspondence with... Saline Project

We asked Saline Project for the low down on their collage art pieces we've been seeing...


From: Adam Toht
Subject: RE. Collage
To: Picasso

Dear Picasso,

Basically, Collage is what started Saline Project. I made the first one in 1998 back at art school as a study for an oil painting, and after leaving school I kept painting, kept doing more of these collage "studies" and they began to become more involved and interesting than the painting's they were for. I started making a bunch of these and would sell them as fast as I could produce them. Around the same time I worked on a few films (some student projects, Requiem for a Dream and others) and it became my dream to work with other artists and make these collages come to life. The funny thing is, after getting out these old slide scans, I realized that the work we are aiming to do now is actually closer to these initial collages (and the initial idea) than anything we've done thus far. An odd ten year cycle. So I actually think we'll be producing some more of these in the coming months- and are really looking for an animation project that we can fully lend this hand worked, painterly vision to.

It's worth mentioning too that these collages are built with sliced up pieces of magazines, books and photographs that are then scratched, drawn on, painted and worked into these kind of hybrid collage-paintings.

Love these things.
-Adam

See more from Saline Project here

Introducing...Jens & Anna!

Picasso Pictures is extremely happy to announce the signing of new directing team Jens & Anna.

This imaginative directing duo, exude charm and humour through their fresh and quirky 2D character design and 3D motion and composition. Animating in 3D gives their cute characters an additional quality and freedom, they also utilise stop-motion to great effect, combining technology with creativity.

London based for the last ten years, both hailing from Germany; they have been making a great impact on the Short Film Festival circuits with their short films 'The Squirrel and The Penguin' and 'Cooked'.

Picasso: So who are Jens and Anna?

Jens and Anna: We are Jens Blank & Anna Benner. We met playing inmates of a lunatic asylum.

P: Where in the world were you born?

J&A: We're both from outside Cologne, somewhere between the city, the forest and suburbia. The latest bus to Anna's house would go at 7pm

P: Where in the world do you currently live?

J&A: London

P: How did you get into Animation?

J&A: We got pretty addicted while studying illustration. Being able to give your creations life that extends beyond a still image was a pretty cool moment and it just made -click-

P: Did you study film-making or animation? If so, where?

J&A: After our BA we worked in the industry for a bit. Jens went to study directing for animation at the National Film and Television School. Anna did a Masters in Film Aesthetics at Oxford Uni, spending a wonderful year thinking and writing about film and animation

P: How would you describe your style? How did it develop?

J&A: Playful, imaginative, funny, quirky and sometimes even cute. When we start a new project we bring together our individual likes and strengths. Anna enjoys to work with textures and handmade stuff while Jens brings in a graphical touch and a bit of 3D.

P: What's been the biggest influence in your career?

J&A: A Wacom, a brush pen, Quink, Forests, Ice Cream and our second monitors.

P: Where do you see yourself in 5 years time?

J&A: How about thanking the academy? We'd like to be amazing at making people laugh, which is a very hard thing to do.

P: Is there one specific project that you feel best sums up your style?

J&A: Our latest short 'The Squirrel and the Penguin' the 'Greenpeace Ocean Action' video and 'Don't Swim after Lunch' give a good idea of what we enjoy doing.

P: Tell us a secret!

J&A: We fight about potatoes and cauliflower

Please enjoy some of Jens and Anna's work below! 

Introducing...Amelie Lambert!

Here at Picasso HQ we rely on a crack team of highly talented folks to keep things moving and get our Directors' wonderful work out there. Amelie Lambert (that lovely tanned woman you can see above) has joined Picasso fresh from a stint at shots magazine as Directors and New Business Representative. We caught up with the hilarious French native to chat about animation, opportunities and being 'cool'...

Picasso Pictures: You look cool, who are you?

Amelie: Thanks for the compliment, I never see myself as being "cool", but I'll take it! 

Gosh I never know what to answer to that question, every day I have a different ‘hat’ on.

P: We love your accent, where about do you hail from?

A: Paris, mon ami!

P: Tell us about how you got started in Animation, when did you know it was your 'calling'?

A: Chance, or luck, brought me to work within a field I’ve always been fascinated about from a young age. I have a secret admiration for this art, the intricacy of it all and the brains behind it.

Also over the past few years I have been surrounded by a bunch of close friends who specialise in all things 3D animation/graphic design/multimedia/web development, so it’s sort of become my universe.

P: What stands out for you over the course of your time at shots?

A: I’ve had the chance to travel a lot as part of a creative international industry …I love seeing what everyone is up to, wherever they may be. It's such a small community. shots covered Brazil back in December and that was a fantastic, memorable trip, full of wonderful encounters and findings. I wish them all the best! 

P: What brought you to Picasso?

A: I found, after having had the privilege to meet and talk to directors, producers and creatives, that sometimes the best things come unplanned. It seems moves within this industry just happen, one thing leads to another and it very often is for the best. I hadn’t specifically planned a move like this, but when the opportunity came up, I knew I wanted to go for it. 

I guess the time was right for me, so here I am, a lucky girl to join such a reputable institution within its field. I cannot wait to contribute to the company’s success. 

P: Summer is approaching, any nice plans?

A: Getting married! What is all the Cannes fuss about :o)

It's MOTOMICHI MARCH!!

Here at Picasso HQ, we decided to dedicate an entire month to the eccentric brilliance of the Artist, VJ, Director and all around creative force that is Motomichi Nakamura….so MOTOMICHI MARCH was born!

Motomichi was born in Tokyo and raised in Japan. He came to the U.S for the first time at the age of 16 as an international exchange student. He graduated from Parsons School of Design in 1996 and now currently lives in Quito, Ecuador.

A creator on a global scale, Motomichi’s art work, whether it’s a canvas painting or a VJ performance, focuses on a character or set of characters as its main element. The characters can be mythical creatures, most often cryptozoological animals or monsters. So celebrate this high impact art with us this month and head on over to our dedicated facebook page to join the buzz.

MTS 'Slingshot': The Extended Cut

tokyoplastic's recent MTS commercial 'Slingshot' featuring our beloved character Petey being catapulted into the sky and flying through the air. After  calls to the client MTS from concerned Petey fans asking what happened to him, Dare Vancouver commissioned us to add a little extension on the end, which you can see here.  In fact we we wish we could join him…now where did we put that slingshot?

tokyoplastic go Underground

As part of the huge preparations for this summer's Olympics here in London, Transport for London commisioned Picasso's tokyoplastic to design a series of posters to help commuters and tourists 'Get Ahead Of The Games'. In co-ordination with www.getaheadofthegames.com, you should begin to notice this beautiful collection of images spring up in newspapers, billboards and more across the city.

Here are a few our intrepid fans have caught around the capital...

Don't forget to tweet us any you spot across town to @picassopictures!

Introducing The Saline Project!

2012 has kicked off at breakneck speed here at Picasso HQ with some fantastic projects ushering in what is looking set to be a very exciting year. Added to this is the news that another fantastic talent has joined the family. Please extend your warmest welcome to The Saline Project.

This collective bring their unique charm, after years of acclaim stateside. We caught up with the boys to find out a little bit more about style, artistic values and their love for their home town of New York...

Picasso: So who are you guys?

We are Adam Toht, Ben Toht, Jesse Roff and Liam Kirtley

P: And where are you from?

Adam-

Ben and I grew up in a small town west of Chicago, Jesse grew up in New Jersey, and Liam is a brit. 

Ben-

Cindy Crawford is from near our hometown. 

Adam-

Cindy Crawford! Take that everyone else's home town!

BT: Winter Refresh

P: And where are you now?

B: Adam and I both live in Brooklyn. Near Prospect Park. And our studio is in Gowanus, Brooklyn.

J: Hoboken, NJ.

A: And Liam is just making his way back from being in the UK for a stretch.

Buxton: Droplet

P: So who are Saline Project? How did you come about?

A: I started Saline in 1999 because I really wanted to start collaborating with artists and filmmakers I loved and respected and wanted to expand the scope of what I'd been doing. I'd been in tons of bands growing up, and it made sense that we could have a filmmaking band (basically) that could, like a band, be a small group that put out work together with a strong, unified voice. I'd been working in film, and had experienced this kind of splintered culture where everyone is a kind of lone gun- jumping from one production to the next, and this idea of a small group, working together and making work together project after project and growing and feeding off each other had a real appeal (and gratefully it ended up working out). 

B: We definitely function a lot like a band. We go into the studio and work at making stuff. We share some artistic values and we each contribute in different ways. And we're always trashing hotel rooms and stuff like that.

J: The stuff Adam was making back in 1999 was the coolest stuff around, and I wanted to make really cool stuff too!

Little Monsters

P: So when did the 'cool stuff' turn into animation?

A: We've basically been doing animation since the beginning but didn't completely realize it. We got big doing a kind of hybrid of live action and animation, with live characters, shot on green screen, set into worlds that we created- and one day we realized that all this "animating" we had been doing was… …animation! It was such an organic progression that we didn't fully process what was happening until we were doing full CG characters, in CG worlds and the whole process wasn't a big leap at all for us. 

B:Yeah, really I think we just always wanted to do things that we couldn't do any other way.

J: I knew as soon as we got Cinema 4d around 10 years ago or so that we could make some really amazing stuff that had little to do with the "real" world.  There has always been a drive to make something cooler and cooler- and I think that has led to a perfect fit with animation for Saline Project.

The Jungle

P: That process has led to a pretty unique aesthetic, how would you describe your style?

A: I would say we create something in motion that is more like a painting or graphic novel than what is normally seen on television or at the movies. We do very design and labor intensive work that hopefully still has heart and soul and an emotional resonance. 

The whole thing began with a series of collage studies I began doing for paintings at art school that became better and more interesting than the paintings. The "collages" were layered, cut out images, assembled from bits and pieces of magazines that were then drawn and painted on to create a pretty seamless hybrid. I was living off of these collages when I started being exposed to film and decided I really wanted to make these collage/paintings move. So that sparked the initial idea, then starting saline and working with other artists the idea became bigger and more dimensional (and better). 

Dunkin' Donuts - Dragon

P: Who/What has been your biggest influence in your career?

A: Funnily enough, I would say the fact that my TV viewing, video game playing and movie watching time was so limited (by our folks), and because I was missing so much was one of the biggest influences on me, creatively. I remember listening to a babysitter watching scary television shows and imagining what was happening- and when I finally watched these shows they were really not all that scary. So many of the shows and movies I heard described at school as a kid just didn't live up to my expectations. I think that created a kind of ideal, and an ability to dream things up that has made a big impact on my life/career.  In later years, seeing tons of young artists and filmmakers using the computer to really do anything they wanted to do- in ways that would never been possible (unless you were born grotesquely rich or connected). I also storyboarded features for Darren Aranofsly and Wrong Turn director Rob Schmidt who both were amazing teachers and very generous with advice on how to make things happen in this wonderfully complicated process. 

B: Shiiit. Well, Adam (who is my older brother) definitely heavily influenced me growing up (and gave me a start in the business). And our parents, who encouraged us all to be creative. Our sister, Betony, who is an amazing writer. And I've learned a ton with Saline and all of the incredible people that we've been lucky enough to work with. 

A: Yeah, our folks limited the TV, but definitely encouraged drawing, and painting and writing. Pretty great combo actually. 

J: Photography, Films, Adam, Ben, and other Saline guys who have worked with us along the way.

Mars Volta

P: Where do you see the future of Saline Project?

A: I'd love to make a feature and/or a bunch of longer form short films. I think we do have a unique voice and I have had a pretty clear mental picture of the next generation of what we're creating. We're better at this than we've ever been, and now having dipped our collective toes into telling longer stories, creating worlds and writing, that world is kind of the next frontier for us. We have representation and interest and all of that, but are kind of waiting for a project we know we can make amazing. We're absolutely loving all the work we get to do right now though and want to continue pushing everything we do. It's a ton of fun.

B: Agreed.

J: Ditto.

Microsoft Windows

P: Is there one specific project that you feel best sums up your style?

A: The test we did for Little Monsters and The Cure Alt End music video still embodies a lot of what we're best of. Both are dark, and graphic, but have a lot of heart and a good sense of story. Love that test and that video.  

B: Ahhh, I can't pick one. I love The Hives video. The Jungle is still one of my favorites, which led to the Buxton commercial which is one of my favorite productions ever. I love Fly Trapped in a Jar, the Alien Musical we made with Modest Mouse. And I have a big soft spot for some of the stranger, more comedic videos that we've made, like The Three Cowboys.

J:Right now I'd have to say Little Monsters and The Jungle are closest to where things are moving visually and story-wise.

The Cure - Alt End

P: What inspires you?

A: All sorts of stuff really. We have a huge book collection at saline and are seeing amazing stuff all the time. It can really be anything. From an amazing music video to a great book, live music performances, shorts people make- killer television. There is so much cool stuff out there. I think we collectively believe in making new stuff that we love and believe in but that is fun for us, but also that the average person will really enjoy. Tim Burton (obviously a big influence) was like that for me (and I believe all of us) as a kid, where he made these movies that everyone would watch and love, that were jam packed with wonderful ideas and design. He didn't have to do that, but it's so wonderful that he did. We aspire to (hopefully) create something that communicates in that way. 

B: Music is huge for me.

J: Light, colors, shadows, music, you name it...

Modest Mouse - Fly Trapped in a Jar

P: Tell us about Brooklyn, is it an inspirational place to live and work?

A: New York is one of the greatest places to live as an artist (in my opinion). There's just something about the energy and culture of the city that I just haven't experienced anywhere else. Not only is it filled with amazing artists, filmmakers, designers, and creatives of all types, but the fact that you get on the subway with homeless people, millionaires- people from all walks of life, all together living their lives in what is actually not that much space- there's just something about this city that is amazing. There's a sense of humanity and drive here that you don't experience that often. We've been in New York (and Brooklyn) since we formed and I can't imagine working in another place. We have a great view of the Manhattan skyline from our studio and we enjoy it all the time.