Martin Show Designer 6 Crack
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I work on the technical design of new experiences. This could be in an indoor or outdoor theatre, or even on a parade. The artistic teams have the idea, the vision, and my job is to transform it into a technical concept so that the magic can operate.
My role was to act as a link between the people who developed the various media used in the show and Arnaud, our show director. For this, we relied on the system that had already proven itself during the Legends of the Force season which we then updated with the maintenance teams. Then we did a lot of on-site tests to achieve a real synergy between the video, the special effects, the lighting, the lasers and of course the drones. This was all done at 4 am so that it would remain a surprise until the evening of the premiere!
I was involved very early on, as soon as the project really got going and the director presented his first ideas to the Marvel teams. As a result, I was able to follow the ideas as they developed really closely and see what was feasible from a technical point of view. On Avengers: Power the Night, everything worked right from the start, which made it a lot easier.
To be even more efficient, we connected the motion design machine directly to our system, just like a live camera, and thanks to this, the motion designer could make the necessary changes directly during the tests, which saved a lot of time.
Lasers are a good example. In a lot of scenes, they are used to highlight certain movements such as shooting arrows. We therefore had to provide the video elements early on so that the designer in charge of this effect could work as closely as possible to the visual. Only then do we move on to full-scale testing, to make sure that what we have imagined in our heads and on our computers actually works in the real world.
When you imagine a show, you also have to consider the fact that it will be performed every night, sometimes several times a night, with the same quality and the same result each and every time. This means that the equipment needs to be durable, and the operators need to be comfortable with the way it works. Having been in operations before allowed me to take the reality of the show into account, and to work with that in mind to ensure an identical experience every night.
It requires a lot of advance checks every day. The video technicians arrive at least 4 hours before the start of the show and they have a whole procedure to follow to check each video projector and make sure that the media servers, the machines that will do the video mapping, are working properly. We also have all sorts of safety devices and backup systems to ensure that the show can still be performed in the best conditions if a technical problem arises.
I think that it did create a bond between us. We have incredible in-house resources. Working directly with our colleagues, without an external studio, allowed us to show what we are capable of doing together. It also allowed for some very exciting ideas to emerge and led to a fantastic result.
- Living in Los Angeles: I find design inspiration all around me. I go to museums like LACMA, The Broad, The Getty Center, and many more. Just looking at the art work inspires colors, textures and jump starts my imagination. I also love to travel and soak in the art and culture around me in that city or country.
- People Watching: I also love just walking around the many different areas of Los Angeles to just people watch. From Silver Lake to Beverly Hills to Venice Beach and Malibu you see the best real live characters. You see many different people of all ethnic backgrounds, ages, and wealth. This helps me lock the real life characters in my mind like a computer to pull out when I need them for a script.
- All Types of magazines and websites: I use the Texture Magazine app to download all of my favorite magazines to read while I am traveling from LA to Utah for Andi Mack. Instagram and Pinterest are also great for research. During Fashion Week, I am always inspired by looking at the runway shows of some of my favorite designers. There are many websites that you can use but I like to watch them on Vogue.com.
My daughter had a Bat Mitzvah when she turned 13. She wore sparkle Doc Martin Boots and her best friend wore Converse high tops with their dresses. I watched them that night having so much fun with their friends dancing the night away, so I wanted to bring some of that real life inspiration to the show.
Always keep your eyes open to new and different things to inspire your imagination. Inspiration can come anywhere, from a person you see on the street, a piece of art in a museum or just a wonderful memory of dancing the night away.
Martin Margiela (born 9 April 1957) is a Belgian fashion designer, artist, and founder of the French luxury fashion house Maison Margiela. Throughout his career, Margiela has maintained a low profile, refusing to grant face-to-face interviews or be photographed. Since leaving fashion in 2009, he has emerged as an artist, exploring the themes that made him an iconic figure in fashion. He is considered to be one of the most influential fashion designers in recent history for his iconic deconstructed, upcycled aesthetic and oversized silhouette.[1]
Martin Margiela was born on 9 April 1957 in the city of Genk in Limburg, Belgium.[2] He became interested in fashion as a child after watching a TV show featuring influential 1960s designers Andr Courrges and Paco Rabanne.[3] As a teenager, he began putting second-hand clothes from flea markets together to create cheap but stylish looks.[3] His taste for pre-worn clothes would later influence his work as a full-fledged designer at major fashion houses.[3] He befriended Inge Grognard who shared his interest in fashion and would later become the make-up artist for all of his shows.[3]
Margiela founded his eponymous label, Maison Martin Margiela, in 1988 with his business partner Jenny Meirens.[3] Meirens, the owner of a designer clothing boutique in Brussels, described Margiela as "the most talented young designer" she had ever seen.[4]
Margiela presented the Spring/Summer 1990 collection in the first show for his eponymous label in the fall of 1989 on a derelict playground in a North African neighborhood on the outskirts of Paris.[5] It was an unusual show with an uneven runway and intentionally stumbling models, which created a public spectacle that shocked the industry.[5] As opposed to the popular themes of extravagance, bold colors, and wide shoulders at the time, his collection included ripped sleeves, frayed hems, and clumpy shoes.[5] To show respect for the community, local kids were also asked to hand draw invitations in art classes at school and were seated in the front row during the show.[5]
Maison Martin Margiela's ultra-discreet trademark consists of a piece of cloth with the numbers 0-23. The badge is attached to the inside with four small, white pick-stitches, exposed to the outside on unlined garments.
In stark contrast to most of his peers, he has always remained backstage and does not take a bow after his shows.[6] Since 1988, he has never agreed to a formal interview or been photographed for any magazine.[4] All media contacts were conducted via fax and later email. The idea was to emphasize that his designs should speak for themselves and they are the product of a collaborative team rather than his own.[7]
Maison Margiela was acquired by the OTB Group in 2002.[7] Margiela remained as creative director, but "had not been involved in recent collections" according to Renzo Rosso, the CEO of OTB Group, in 2008.[7] He had privately expressed his desire to stop designing and begun a search for his successor.[7] His close associates speculated that he wanted to "enjoy his life outside the insistent glare of the fashion world."[7] In early 2008, he approached Raf Simons, the creative director of Jil Sander, and offered to hand the reins of Maison Margiela to him, but Simons appeared to have declined the offer and instead renewed a three-year contract with Jil Sander.[7]
In December 2009, Margiela formally left his eponymous label.[8] No successor was named and the house continued to be operated by a team of designers until John Galliano was appointed as creative director in 2014.[9]
Martin Longmore is one of the pioneer consultant designers, working for scores of different companies over the last 30 years. With significant input into the BMW Z3, Audi TT and dozens of motorbikes in his portfolio, he represents the often silent band of contractors who bring their experience to a wide range of varied projects. His most recent work includes the BMW M6 GT3 racecar, BMW-Brilliance Zinoro concept and the Mini E-Scooter.
In some respects you are a bit like a hitman. There is a bit of risk and that is an appealing aspect. Naturally, the opportunity to be an integral part of a contributing design team is very satisfying.
This show car concept was at the time revolutionary in form and function, and at the Turin Auto Salon in 1986 the experience of unveiling my design to massive accolades from both the automotive and design industry was a dream come true.
I was secretly brought in through the back entrance in overalls to help push the model into the showroom and set it up so nobody would know who I was. The guys at Motorrad wanted that at least I saw a part of the presentation. As we pushed that car in and then took the cover off it was like Scotland had put in three against Germany, it was just a complete shock to the designers from the car studios.
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