Creative Coding

  1. Avec l'illumination permanente de la façade du 2-22, Moment Factory prolonge l'installation multimédia intérieure de La Vitrine culturelle, qui avait été conçue pour attirer l’attention des passants au coin des rues Sainte-Catherine et Saint-Laurent. Les trois passerelles séparant chaque étage du bâtiment ont été transformées en surfaces vidéo et présentent tantôt du contenu ambiant et artistique, tantôt du contenu informatif lié à la programmation de La Vitrine.

    En plus de l’illumination de ces passerelles, constituées de très longs panneaux LED au format non conventionnel, Moment Factory a imaginé une enseigne « 2-22 » en guise de signature lumineuse de l’édifice-phare du Quartier des spectacles. L’architecture du 2-22, réalisée par la Société de Développement Angus, en consortium avec Aedifica et Gilles Huot, a inspiré Moment Factory, qui a voulu accentuer le geste architectural avec diverses composantes multimédias. Le contenu vidéo et les effets d’éclairage sont contrôlés par X-Agora, le système technologique de Moment Factory.

    Cette nouvelle installation rejoint la vision du Parcours Lumière, développée par Intégral Ruedi Baur et Intégral Jean Beaudoin pour le Quartier des spectacles de Montréal


    With the illumination of the facade of 2-22, Moment Factory updates and extends its multimedia installation at La Vitrine onto the street at the corner of St-Laurent and St-Catherine.The three walkways separating each of the building’s floors have been transformed into video surfaces, presenting ambient and artistic content, as well as informative cultural programming.

    On top of these illuminated platforms - made of super long LED video screens - Moment Factory has created an enormous "2-22" light signature for this flagship building of Montreal's Quartier des spectacles.
    The bold architecture of the building, designed by Aedifica in collaboration with Gilles Huot, informed Moment Factory’s multimedia accentuation of the building's already impressive architectural features.
    The video content and the lighting effects are controlled by X-Agora, Moment Factory’s own multimedia control and playback system.

    This new installation conforms to the vision for the Luminous Pathway designed by Integral Ruedi Baur and Intégral Jean Beaudoin for the Quartier des Spectacles of Montreal.


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  2. A documentation of a technical projection study.

    This year we took some time off to focus on experimental ideas and technical approaches we had in mind. This study was driven by the curiosity, if and how a moving head projector could be integrated into a projection mapping setup. We mainly focused on technical aspects in this research. On the other hand we discovered an exciting and very specific way of storytelling provoked by this device. Still curios, we are now looking forward to integrate this knowledge into upcoming projects.
    Thanks to our cooperation partners for supporting us during this study.

    Production: January 2013 - May 2013

    Project Manager: Till Botterweck, Thorsten Bauer
    Art Director: Till Botterweck, Julian Hoelscher, Max Negrelli
    3D Designer: Peter Pflug, Moritz Horn
    Producer: Manuel Engels

    Media Engineer: Tobias Wursthorn (

    Documentation Director: Till Botterweck, Thorsten Bauer
    On-Site Camera: Max Negrelli, Moritz Horn
    Edit: Max Negrelli
    Music: Jonas Wiese (

    Moving Head Projector support: Publitec (
    3D Scan support: Leica Geosystems (
    Media-Engine support: WINGS VIOSO (

    An production

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  3. Sliider is a simple yet usable application created for performing live with webGL and other web browser based graphics. In this video I introduce the features.

    Read more / download it:

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  5. In this episode of Start to Finish, graphic designer Bradley G Munkowitz, known to his ardent fan base as GMUNK, lets us into his studio and reveals his process for creating op-art-inspired geometric prints.

    Learn how he uses a web app developed with code artist Marcin Ignac to divide simple primitives into complex multifaceted shapes, and then sends the results to Maya for shading, lighting, and rendering. It's a completely unorthodox use of this 3D toolset—but it's typical of GMUNK's work.

    Watch more documentaries like this at

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Creative Coding

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