I needed to do something bold.”Īfter slowly beginning work on Skin as far back as lateĒ013, Streten’s breakthrough came in mid-2015 when he shifted to LA for three months of solid work. Recorded in hotel rooms, aeroplanes, trains, taxis, and tour vans, and in locations as far-flung as LAX airport, a shack on the west coast of Mexico, a log cabin in rural Tasmania, a bus rattling towards Vegas, as well as studios in LA, New York, and his hometown of Sydney, Skin is “a grand expedition in trying to capture the biggest, most epic, powerful moments,” says the producer. “That definitely influenced the new stuff a lot.” “I wanted to keep the next album at a certain high energy,” says Streten of the writing process behind Skin. “It used to be just writing for myself but now there is an audience,” says Streten.Ě sizeable one.ěeyond millions of listeners and his own sold-out shows,ğlume’s live show has become a major draw at international festivals, includingĜoachella, Reading, Leeds, Pukkelpop,ěonnaroo, and drawingĔ0,000 to his slot at Rock en Seine in Paris. ![]() With good reason - its creation mirrors the complex rush of sensations that came with sudden success. Released in MayĒ016, the musician’s wildly eclectic follow-up is a meticulously crafted, vivid universe of big emotions woven into a densely cinematic whole. “Shock” plays a significant role onğlume’s often-outrageous second album, Skin. “I was just some quiet kid in high-school and all of a sudden I got dropped into the deep end. It’s easy to imagine production designers adding, in real time, the type of effects that the omnipresent music video director Cole Bennett adds to his videos in post-production, or a Snoop Dogg performance in which he’s flanked by his characters from the Sandbox metaverse.“It was a crazy journey,” says Flume - aka 25-year old Australian producer Harley Streten - of hisĒ012 self-titled debut’s international success. Future performers could have lighting effects surrounding their faces at all times, for instance, or sync their dance moves to those of surrounding avatars. The graphics are only the beginning of what might be created in AR for live concert settings, Schoonover says. Submit your invention for consideration here. TIME’s annual Best Inventions list recognizes products, software and services that are solving compelling problems in creative ways.Three broadcast cameras equipped with additional hardware tracking allowed the production team to insert those 3D graphics into the video feed in real time. The result was the creation of enormous Australian birds (Flume is Australian), brightly colored flowers and leafy trees swaying in the wind, above the stage and teeming crowd. Key players in this process included the artist Jonathan Zawada, who has worked extensively on audio-visual projects with Flume, including on NFTs, and the director Michael Hili, who directed Flume’s extremely trippy recent music video, “Say Nothing.” Several other production companies were also involved, including All of It Now. ![]() This year, it took a partnership with Epic-which is focused on lowering the barriers to entry for 3D creators-and the buy-in of Flume-an electronic musician who has long emphasized visual craftsmanship at his concerts-to bring the project to fruition. However, previous efforts at AR experimentation at Coachella were stymied by the cost of production and the lack of interest from performers. “Because the at-home experience is never going to compare to the at-festival experience, we want to give artists new ways to express themselves and scaling viewership around the world.” “The online audience for shows is growing exponentially to the point where there’s maybe 10 or 20 times more people who are watching the show through a livestream than at the festival,” Schoonover says. Schoonover has been trying to utilize similar effects for Coachella’s livestream for years in an effort to broaden its audience beyond the confines of the Empire Polo Club. (The panther was also created with Unreal Engine.) Last September, a giant panther bounded across the Carolina Panthers’ stadium in a similar fashion. ![]() Riot Games brought a giant dragon to the opening ceremonies of the League of Legends Worlds 2017 final a camera followed the shrieking beast as it flew around fans at the stadium. For the last couple years, AR visuals have been making their way into live broadcasts, although mostly as small gimmicks.
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