Archive for October, 2015

Diplo Talks Music Producing, Rise to Stardom


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There’s no denying the fact that dance music has officially completed its merger with the commercial media. If huge corporate sponsorships at your favorite events or a feature-length film starring Zac Efron weren’t clear indicators, take Diplo on your mother’s favorite morning talk show with Charlie Rose as the strongest example yet. Dance music has gone day-time TV, and you know what? That’s just fine. With Diplo representing the commercial side of dance music on CBS This Morning, it’s evident that his meteoric rise is directly correlated to dance music’s explosion in America within the last five years.

Seeing Diplo, or Wesley, in any setting outside of a human hamster ball steam-rolling a sea of fans always takes a moment to get used to. But as Diplo describes electronic music as the sound of our day, remarking on its accessibility, he explains that finding his current fame was no walk in the park.

Not a classically-trained musician, the Mad Decent label head tells the hosts that his true abilities lie in his creative process, describing the grinding busy work as he slowly established his brand. Diplo divulges on his leap of faith into the music world at age 23 – bouncing between jobs at the zoo, Subway, and an elementary school before taking pop’s top spot. Charlie Rose crowns “Lean On” the song of the summer as the hosts dive into Wes’ work with pop icons Madonna and Justin Bieber, and all the while, Diplo fields their questions with a slick charm.

Though, Gayle King turns the tables in asking Diplo point blank if his “badboy” persona is all just an act. Frankly, it makes you wonder. Considering the way in which Wes describes his rise to fame, relentless work ethic, and desire to push creative boundaries from Jack Ü and Major Lazer to everything in between, Diplo probably doesn’t deserve such a bad rap. In fact, he proves electronic music can be intelligent, and if others were as dedicated, then anyone – even a kid from Florida with no classical music training – can grab a laptop, start creating, and maybe one day take over the world.

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Sarah Jean Underwood’s Star Wars Halloween Costumes.


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Former ‘Attack The Show host and Playboy Playmate Sara Jean Underwood features in this funny parody of the sexy Halloween outfit trend. Prepare to feel very confused by sexy Darth Vader, sexy Yoda, and sexy…. Admiral Ackbar.

It’s a trap. The Playboy-produced vid serves as an amusing parody of the various ridiculous sexy takes on character costumes doing the rounds, but it is also an excuse to shoot the lovely Sara Jean Underwood wearing very little. Those sneaky Nerf-herders. To be fair, some of the costumes actually look pretty cool, but sexy Bib Fortuna may haunt your nightmares for some time.

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Serato DJ 1.8


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Serato DJ 1.8 is the latest major software update for Serato DJs. This update adds Key Detection and Key Display, an update to Pitch ‘n Time DJ allowing Key Shifting and Key Sync, plug and play support for the Pioneer DJ DJM-S9 and user Hardware Remapping. All of this comes with a number of important performance and stability updates.

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THE MARTIAN – UI SCREEN GRAPHICS


 
The Martian tells the story of stranded astronaut Mark Watney and NASA’s efforts to bring him home. Based on Andy Weir’s novel, the story is set circa 20 years in the future, during NASA’s third manned mission to Mars. Predicated on real science, Director Ridley Scott and Production Designer Arthur Max drew on the expertise of specialists at NASA and the European Space Agency, and asked Territory to craft the screen graphics and UI that would be needed.

As a story that is mediated by technology, hundreds of screens are employed across eight key sets, forming the lens through which the drama unfolds.

Working closely with NASA, Territory developed a series of deft and elegant concepts that combine factual integrity and filmic narrative, yet are forward looking and pushing NASA’s current UI conventions as much as possible.

Territory’s plot-based graphics includes identities and visual languages for each set, and include images, text, code, engineering schematics, 3D visualisations based on authentic satellite images showing Martian terrain, weather, and mission equipment served across consoles, navigation and communication systems, laptops, mobiles, tablets, and arm screens throughout.

In all Territory delivered around 400 screens for on-set playback, most of them featuring interactive elements. With 85 screens on the NASA Mission Control set alone, a number of which were 6mx18m wall screens, there are many moments in which the graphics become a dynamic bridge between Earth and Mars, narrative and action, audience and characters.

20th Century Fox Credits
Director: Ridley Scott
Production Designer: Arthur Max
Sup. AD: Mark Holmes
Motion Graphics Art Director: Felicity Hickson

Territory Credits
Creative Director: David Sheldon-Hicks
Producer: Sam Hart
Art Direction: Marti Romances
Lead CGI: Peter Eszenyi
Design and Animation: Daniel Højlund, Marti Romances and Sam Keehan.

© 2015 Twentieth Century Fox, The Martian

 
 
 

Full FX: the RMX-1000 iPad app


The the RMX-1000 for iPad is launching: the tactile iOS app that lets you add high-quality FX to tracks in your iTunes library. The RMX-1000 app comes into its own when linked to the Audiobus app and Inter-App Audio, which will let you add FX to music you’ve made on your iPad.

The future a la Mercedes-Benz


“A chill-out zone in the midst of the mega city traffic mayhem,” Mercedes-Benz calls its latest self-driving concept car, the Vision Tokyo — so named because it’s being introduced this week at the Tokyo Motor Show. “Chill-out zone” actually seems fair, because the interior of this smooth, silver bean of technology is an arc-shaped couch, where up to five passengers can, in fact, chill out.

There’s nothing production-ready about the Vision Tokyo — everything from the fuel cell drive train to the futuristic wraparound displays in the interior is a dream of a far-off world, though Mercedes deserves some credit for focusing on a singularly executed theme: all of its concept cars this year, starting with the F 015 at January’s CES, have looked like birds of a feather. Outside, there’s the otherworldly silver paint covering everything, glass included; blue LED accents around the perimeter make the car look like a prop from Tron and communicate the vehicle’s self-driving intentions to nearby pedestrians (another trick borrowed from the F 015).

Autonomous mode is clearly the focus considering the seating layout, but it’s still possible to take control — a “jump seat” unfurls and a steering wheel pops out on command. That’s not very chill, though; members of Generation Z (who Mercedes says the Vision Tokyo is for) want “personal contact whenever possible,” which they can get with the face-to-face arrangement while the car drives itself.

Among the stranger features Mercedes has envisioned here is a hologram projection system for showing apps and maps in three-dimensional space. There’s also a trick windscreen that will show a graphic equalizer — think a music visualizer from back in the Winamp days — whenever the occupants are listening to music. (Not to say you necessarily want the people outside your car to know what you’re listening to, but it’d look cool, at least.) All this is tied to an emissions-free drivetrain that Mercedes says is good for 980 kilometers (609 miles) — 190 kilometers in electric-only mode and another 790 kilometers in the hydrogen fuel cell.

The exterior of the Vision Tokyo is “comparable” to a “mid-series vehicle” in its dimensions. Arguably, even that’s too big for Tokyo, a hyper-dense city where subminiature “Kei cars” are extremely popular. But if you want to fit five people and play with three-dimensional apps, this concept might be your best choice.

Follow Fetty Wap Through His Home Turf.


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Tag along with Fetty Wap and his deep, loyal Zoo Gang family to learn about the Paterson, New Jersey star’s rise to fame and the role his crew has played in his success.