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Formation Unity

Intro to the architecture and the development of 360 degrees experiences in Unity

Workshop

10, 12, 17, 19, 24 et 26 of February and 5, 10, 12, 26 of March 2018
Vidéographe

200$ plus taxes



Intro to the architecture and the development of 360 degrees experiences in Unity (33h of group classes and 2h of private classes)

Workshop plan: Workshop plan_architecture360

Dates:

  • Saturday 10th of February from 9am to 1pm
  • Monday 12th of February from 6pm to 9pm
  • Saturday 17th of February from 9am to 1pm
  • Monday 19th of February from 6pm to 9pm
  • Saturday 24th of February from 9am to 1pm
  • Monday 26th of February from 6pm to 9pm
  • Pause for the weekend of the 3rd and 4th of March
  • Monday 5th of March from 6pm to 9pm
  • Saturday 10th of March from 9am to 1pm
  • Monday 12th of March from 6pm to 9pm
  • Monday 26th of March from 6pm to 9pm

You have until January 15th 2018 to apply
*See conditions of admission later in the text

Financial aid provided by Emploi-Québec and workshop given in French by Casa Rara Studio.

Learn the foundations to build a 360° experience from scratch using Unity with the help of VR pioneers from Casa Rara Studio.

During the workshop, you will:

  • Have a Virtual Reality development training with professional instructors
  • Build the base of your pilot project in Unity
  • Receive all project files and a full course curriculum outlining the course modules with sources to deepen your knowledge.

You will:

  • Have an intro to the history of VR
  • Learn about the recent usages of VR in Arts, Films, Games and more
  • Learn the design pillars of creating a 360° immersive experience
  • Learn the basics of Unity, the leading 3D engine, to create VR apps and 360° videos of your own
  • Learn Art best practices to build in Unity. Asset integration, basic animation, basic shading and lighting
  • Learn basic audio integration in Unity and the role of sound specialization in 360° storytelling
  • Try an assortment of VR titles to inspire your creations
  • Build a VR project from scratch in Unity
  • Learn how to export your project as 360° video and VR app for different headsets

You’ll leave with:

  • A VR project you can keep building in your house
  • A stronger understanding of how to use Unity to create your own VR projects

Every participant should have their PC and have installed UNITY PERSONAL beforehand class number one.
It’s important also to follow this first tutorial to make sure the machine can handle Unity well. It will also help to get acquainted to the interface.

Min requirements to run Unity for development
OS: Windows 7 SP1+, 8, 10, 64-bit versions only;
Windows XP & Vista are not supported; and server versions of Windows is not tested.
CPU: SSE2 instruction set support.
GPU: Graphics card with DX9 (shader model 3.0) or DX11 with feature level 9.3 capabilities.

Conditions of admission

This course is intended for artists or those working or seeking work in the field of media arts. Applicants should reside on the island of Montréal and be available throughout the duration of the course, which is partly funded by Emploi-Québec.

Inscription
This workshop can receive 6 persons. Please call us at 514-521-2116 ext.221 to validate that you are eligible. You will then have to send your CV and a cover letter to info@videographe.org before January 15th.

Where: Vidéographe, 4550 Garnier Street, Montréal, QC H2J 3S7
When:  See calendar above
Public transport: Metro – Mont-Royal; Bus – lines 27, 45 and 97
Price: 200$

For further information or to reserve a place, please contact Olivia Lagacé on  (514) 521-2116 (ext. 221) or at info@videographe.org

Tali Goldstein — Co-Founder & Producer

With over 11 years of experience as a producer, Tali has filled leadership roles for her entire professional life. She has expertly managed budgets of over 5M USD. In her role as Minority Media’s producer, she shipped many games, including the critically-acclaimed Papo & Yo, the App Store chart topper Loco Motors, and the ground-breaking Spirits of Spring. Her most recent project, Time Machine VR, was one of the most acclaimed launch games for VR devices, praised by the industry and gaming press, and nominated for a 2016 NUMIX award. As a studio manager, Tali took Minority Media from a 5-person startup to one of Canada’s leading developers at the forefront of VR innovation, employing 40 highly-talented professionals. Tali has established relationships with all major digital content publishers, including Sony, Microsoft, Apple, Amazon, Google, Valve, Steam, Facebook, Oculus VR, HTC and Samsung.

Ruben Farrus — Co-Founder & Creative Director

Ruben has 9 years of experience taking games from inception to worldwide launch. He learned and perfected his craft at AAA developers Electronic Arts and Eidos before playing a decisive creative role in establishing Minority Media’s reputation in games like award-winning Papo & Yo and Spirits of Spring. Respected across the game industry, Ruben’s numerous keynotes, master classes, and workshops, have inspired his peers. Ruben worked with the National Film Board of Canada (NFB) on I Love Potatoes, a narrative game about social innovation. Since launch, the game has collected numerous prizes for its engaging social features and transformative thematic (Best Social Game at the Canadian Videogame Awards in 2015; The 2016 NUMIX Grand Prix; 2017’s Best Original Interactive Production by the Academy of Canadian Cinema & Television; among others.) Since 2013 Ruben has explored the VR medium with gaming, educational and artistic projects: Minority Media’s Time Machine VR, Niwîchewâkan: Cree Syllabics VR (with the Cree School Board) and Museum Of Symmetry (with the National Film Board).

Charlène Boutin – Designer

CASA RARA always keeps an eye out for fresh talent. Charlène has recently graduated from Game Design at l’Université du Québec en Abitibi Témiscamingue. During her studies, she cultivated a passion for making complex game systems and developing enticing stories capable of reaching player emotion. An organized leader by nature, she has skills in game design, level design, narrative design and complex mechanics design. She has sharp prototyping skills, including great knowledge of C# in Unity as well as Unreal Engine 4’s blueprint system. Charlène joined CASA RARA for an internship in March 2017, and quickly demonstrated her potential: she is a fast learner and has the attitude of a pro. Charlène creates proof that CASA RARA’s vision of pairing talented juniors with veteran developers delivers a huge payoff for the company.

Eliott Le Calvé — Lead Artist

Eliott is a skilled 3D and 2D artist who gained his experience working in France as a concept artist, character designer, modeller, and UI artist. He moved to Montreal in search of a team with unbridled creativity and enthusiasm. He is highly proficient in art pipelines, including sculpting (Zbrush), retopology/high/lowpoly modeling (3Dcoat, Maya), mapping (xNormal), rigging/animation (Maya) and PBR texturing (Quixel Suite, Photoshop). He also knows game engines Unreal Engine 4 and Unity inside out: Eliott masters engine integration, lighting/shading and FX (Shuriken, Cascade). Eliott is a great team player, and his versatility, hands-on approach and unique style have brought him to CASA RARA. He is a rare type of artist: more than a generalist, he is a true technical polymath that matches the specialist’s quality standards. Eliott’s understanding of both form and functionality makes him a perfect fit for our experienced art team.

© Charlotte Clermont, Plants Are Like People, 2018

Technical Support Program

Call for submissions

Deadline : March 1st, 2022



CALL FOR SUBMISSIONS

Deadline : March 1st, 2021

* New: 4 calls for submissions per year

Program description

The Technical Support Program is intended to support artists interested in experimentation and in pushing the boundaries of the moving image in all its forms.
This support can be used in the production phase of the project or in the post-production phase.

A total of 4 calls for submissions per year will be made, for which the following are the deadlines;

  • March 1st (for projects that will start between April and June)
  • June 1st (for projects that will start between July and September)
  • September 1st (for projects that will start between October and December)
  • December 1st (for projects that will start between January and March)

Please note that 2 projects per call for submissions will be selected.

Artists selected under this program have free access to:

  • Our editing suites, sound booth and digitizing equipment for a maximum of two weeks. These two weeks can be contiguous or spread over 3 months.
  • Free access to available equipment belonging to Vidéographe.
  • Two meetings with Vidéographe’s team to discuss the project and its circulation potential: one meeting at the start of the project in order to specify the needs and a second meeting at the end of the project.
  • The possibility of organizing a private screening at Vidéographe.

It is not necessary to be a member of Vidéographe to apply; however, should your proposal be accepted, we will ask that you become a member. Once you have signed the agreement, you will have three months to take advantage of the benefits that this program has to offer. Regular membership fees are $50 + tx per year and student membership fees are $25 + tx per year.

We are looking to support independent experimental or documentary works that stand apart for their currency and endeavour to renew the artistic language. We will accept proposals for single-channel video, installation, Web-based work, and all other forms of moving image. We consider all genres—video art, experimental work, fiction, documentary or essay form, animation, dance video, and videoclip. Please note that all works must be independent and non-commercial. Projects of a conventional nature, such as classic short narrative film or television documentary will not be considered.

Once your project is finished, you may submit it for active distribution by Vidéographe. Please note however that acceptance into the Technical Support Program does not guarantee that your work will be distributed.

Required

  • Candidates must possess full editorial and creative control of the project.
  • Projects must be independent and non-commercial.
  • Projects that have received support through this program may not be re-submitted.
  • Student projects are not admissible.
  • We encourage traditionally under-represented artists to submit a project. Vidéographe is driven by the conviction that multiple points of views are necessary to enrich society and the discipline we work in.

Selection process

Works will be chosen by a selection committee made up of Vidéographe staff and members.

Projects that are retained will be subject to a contractual agreement between the artist and Vidéographe. Schedules, revised budgets, and requirements regarding equipment, rooms, and technical support will be planned and clearly laid out, as will the terms and conditions relative to each party.

Application file:

  • Contact information and website if applicable
  • Project description (500 words)
  • Schedule; (Overall project timeline and detailed timeline for support for creation).
  • Technical needs; (Please consult our website for more details on our editing suites and equipment).
  • Resume.
  • Supporting documentation (current or past projects);
  • Maximum 10 minutes of video footage. Please send a link to your video(s). Do not forget to include the password if applicable; and/or maximum 15 images (max: 1024 px wide, 72 dpi); sketches, plans, and mock-ups may also be submitted in PDF format.

Submission of your file

Applications will be accepted by email only. An acknowledgment of receipt will be sent. Please write TECHNICAL SUPPORT PROGRAM in the subject heading of your email and send your file to info@videographe.org. Please send your file as a SINGLE PDF document (including links to videos). Files found in the text section of the email will not be taken into account.

Please allow three weeks for a response. Vidéographe chooses eight projects per year.

© Traces, Chantal Partamian, 2022

IN SITU : Chantal Partamian, thisquietarmy and Guillaume Vallée
la lumière collective x Vidéographe

PROGRAMMING

January 9th, 2024 at 7:30 pm
7080, rue Alexandra, #506 Montréal, QC H2S 3J5

10,00 $ – 50,00 $



Proposed by la lumière collective, IN SITU is a series that focuses on unique audiovisual works and live sound performances by local artists passionate about cinematic material, experimental moving images and sound art. This third IN SITU season is curated by Emma Roufs.

 

► Click here to get your tickets [+]

 

PROGRAM

  • L’arbre, Chantal Partamian, 2021, 2 min 28 s
  • Sandjak, Chantal Partamian, 2021, 9 min
  • Solace, Chantal Partamian, 2021, 1 min
  • grand-maman Piano, Guillaume Vallée, 2019, 5 min
  • are you haunted, daddy? (about anxiety), Guillaume Vallée, 2020, 2 mins 07 s
  • Binge, Chantal Partamian, 2016, 40 s
  • elles s’élèvent, ces forteresses éponges, Guillaume Vallée, 2022, 7 mins 12 s
  • Traces, Chantal Partamian, 2022, 8 min 45 s
  • One Day I’m Gone, Chantal Partamian, 2020, 2 min 40 s
  • Monsieur Jean-Claude, Guillaume Vallée, 2021, 7 min 51 s

 

SYNOPSIS

L’arbre, Chantal Partamian, 2021, 2 min 28 s

Super 8mm and 16mm footage and expired cartridges found and shot in Quebec reflect on words written in Beirut to create a melancholic postcard between both worlds.

 

Sandjak, Chantal Partamian, 2021, 9 min
In 1939, following an agreement signed by France, the Alexandretta Sandjak in Syria was annexed to Turkey. Thousands of Armenians, including my grandmother, flee Alexandretta for Aleppo or Beirut. In the fall of 1939, a small number moved inland to an already established « quarantine » zone near Burj Hammoud, which at the time was farmland.
The camp takes the name of their homeland, Sandjak.
Navigating three types of images, shot in three different periods, the film explores the poetics of haunting through compositions of images that attempt to create an entanglement between the past and the present. An intimate but detached voice, a little stoic even, speaking of countless losses. The repeated affirmation of belonging to a place that is no longer.
It is an exercise in the dismantlement of the Sandjak camp space.
The haunting of the present by absences.
The fragmentation of history and memory.
The experience in the margins and the historical anachronism of a people evolving in temporal landscapes.

 

Solace, Chantal Partamian, 2021, 1 min
When the Beirut explosion occurred, my first thought was that of relief that my grandmother had passed a year and some before. The best hours to sit outside among her plants and flowers were those of sunsets. How does one mourn when they are grateful for the occurrence of some deaths as salvation? How does one mourn when in separation, we spare the ones we love the end of their world?

 

grand-maman Piano, Guillaume Vallée, 2019, 5 min
This experimental autobiographical film, in which features the filmmaker’s family, questions the emotion of the faded moment through audiovisual memory. The artist reappropriates on Super8 film the last moments of Hélène Lamoureux, his recently deceased grandmother. The memory image crystallizes a chaos frozen around the inanimate body.

 

are you haunted, daddy? (about anxiety), Guillaume Vallée, 2020, 2 mins 07 s
A depiction of various anxious states of mind during isolation. Fragmented anxiety and existential thinking. Hand-processed Super8 reversal and black & white film. Based on an interesting discussion with my son about the possibility of being haunted.

 

Binge, Chantal Partamian, 2016, 40 s
Bipolar disorder is characterized by its sudden manic surge. It is now 3 a.m. A collage of found footage and stop motion.

 

elles s’élèvent, ces forteresses éponges, Guillaume Vallée, 2022, 7 mins 12 s
The cameraless animated short « they rise, these sponge fortresses » is made from a 35 mm trailer of the feature film »Water Lilies » (2007) by Céline Sciamma. Experimental filmmaker Guillaume Vallée explores and questions his sensory memory as a teenager, partially lost. This process of resuscitating buried experiences and forgotten memories is carried by the materiality of 35 mm film, the nature of the images filmed and the interventions of the filmmaker painting and scratching the film emulsion directly. In this reverse journey, the memory-images, the affects reveal their plasticity, their imperfections, their chaos, their sensuality and their significance. The soundtrack is by Stephanie Castonguay and the texts by author Gabrielle Boulianne-Tremblay.

 

Traces, Chantal Partamian, 2022, 8 min 45 s
This experimental essay is based on the discovery of a reel of pornographic film amid the rubble of Beirut during the 1980s, at the height of the Lebanese civil war. The ecstatic faces of two women having sex emerge from the debris, in contrast with the masked faces of soldiers. These men with phallic weapons glitch and fade through various visual effects. Toxic masculinity becomes white nothingness, while the actresses emerge from the dust and take on more and more colour. This found footage film, with its cyclical soundtrack, invites us to question how we look at film and at history, which is still passed on today through the intermediary of « important events » and « great men ». (SCV)

 

One Day I’m Gone, Chantal Partamian, 2020, 2 min 40 s
What started as experimentation using the « One day I’m gone » track by Kid Fourteen ended up being its official video. Super 8 of 80s porn reedited scratched bleached and queered

 

Monsieur Jean-Claude, Guillaume Vallée, 2021, 7 min 51 s
Jean-Claude Van Damme is back, and this time it’s personal. Seventy-two photograms constructed from a 35mm trailer of JCVD’s opus The Quest (1996). Re-examining conceptions of masculinity by deconstructing some of the images I watched repeatedly as a child

 

► Live sound performance by thisquietarmy (Eric Quach) – 20 to 30 mins

BIOGRAPHIES

Chantal Partamian is a filmmaker and archivist. Her films, mainly made in super 8 mm and from found footage, have been screened and awarded at numerous festivals, and are distributed by Vidéographe, Groupe Intervention Vidéo (GIV) and CFMDC. As an archivist, she is dedicated to the preservation and restoration of reels from the Mediterranean region (Katsakh: Mediterranean Archives), while conducting research into archival practices in conflict zones. Her written work is mainly published in Hors champ.

 

Thisquietarmy is the project of Montreal-based artist and musician Eric Quach. Evolving in the sphere of improvised music, he sculpts dreamlike soundscapes through his electronic experiments with electric guitar. Active for almost 20 years, he has created over 60 works published on many labels including Consouling Sounds, Midira Records, Aurora Borealis, Denovali Records, Shelter Press & P572. He’s closing on 1000 performances in 40 countries, including at festivals such as Mutek, FIMAV, Suoni Per Il Popolo, Red Bull Music Academy, Biennale Némo, Amplifest, Dunk! Festival & Le Guess Who. Key collaborators include members of Voivod, Godspeed You! Black Emperor and Amenra, as well as artists Aidan Baker, Dirk Serries and Noveller, and he also founded bands such as Hypnodrone Ensemble, Pangea De Futura, Some Became Hollow Tubes, Houses of Worship & Destroyalldreamers.

 

Experimental filmmaker, video artist and independent curator, Guillaume Vallée graduated from Concordia University with a Major in Film Animation and MFA in Studio Arts – Film Production option. He’s interested in alternative forms of moving images in analogue forms as a way of considering the direct interaction between different mediums. His work is an exploration of materiality within the creative process. In attempts of creating a more complex relationship with his subject matter, Vallée makes use of cross-medium forms that range from camera-less techniques to optical effects, glitch, video feedback, resulting in expended & hybrid pieces. He works mainly on Super8, 16mm and VHS.