Latest technology 2020
“I think the key for the post-corona era is how real we can feel in a virtual world.”
The solely live music I’ve managed to see all 12 months got here from an surprising place. I just lately discovered myself on a Friday evening after hours at teamLab Planets, a standard vacationer spot in Tokyo, watching rock star Miyavi engaged on his newest “Miyavi Virtual” mission. Miyavi Virtual 3.0 can be available for purchase and stream later at present — it’s a live efficiency mixing drone footage with dazzling digital artwork.
At one level Miyavi, a bouncy, enthusiastic character with blue-green hair and a wiry body lined in black ink wash-style tattoos, came to visit to me for a distanced elbow bump and requested if I used to be feeling sleepy. To be sincere, I type of was — it seems that recordings for glitzy live-streaming productions can contain a lot of ready round properly previous midnight.
But that’s simply the way it goes in 2020. As the coronavirus pandemic continues to rob creators of the power to play in entrance of live audiences and even file music movies in conventional studios, Miyavi and his inventive groups are resorting to technology — and weird work hours — to maintain performing in entrance of followers.
Born Takamasa Ishihara in Osaka in 1981, Miyavi is greatest recognized for his fast-paced, catchy electro-rock music and frenetic guitar taking part in. He began out in the visible kei band Dué le Quartz earlier than embarking on a solo profession that finally started to embody modeling and performing, together with roles in Hollywood films like Unbroken and Kong: Skull Island.
In different phrases, he tends to have a full calendar, and 2020 was alleged to have been no totally different. Miyavi usually bases himself in LA, and early this 12 months was booked for some films, TV tasks, and a Gucci marketing campaign. Then, his newest solo album Holy Nights was set for an April launch with a tour to observe. But by the start of March, Miyavi discovered himself again in Tokyo, and it was clear that plans must change.
“For us creators, you know, we can’t do live performances now,” Miyavi informed me earlier over Zoom. “So it’s really a crucial time to find a new way, a new normal.”
To begin with, Miyavi’s have to work in each Japan and the US complicates issues. “To be honest, we had lots of paths and lots of ideas, and we also had a lot of arguments because nobody knew what it was gonna be like,” he says. “Each country has a different situation. Usually I have my team in Japan in Tokyo, and a team in America, so we all talk. But the situations [with COVID-19] we’re in are all different. So we heard lots of ‘it’s not the time to shoot a music video.”’ We listened however we didn’t cease, as a result of in Japan, even at the moment, file shops weren’t closed. So we have been planning on doing a common marketing campaign and I used to be even taking pictures TV applications.”
But it quickly grew to become evident that plans to shoot two music movies in the US weren’t going to work out. “In America, the emergency declaration already happened, and as soon as we found out that Miyavi cannot fly out to the States, we’ve got to switch to more virtual creation,” Miyavi says. (He generally talks in the third particular person.) “That’s why we started making the music video for ‘Holy Nights’ with our animators, so that creates a world without having me.”
Miyavi dropped the anime-influenced “Holy Nights” video, developed by his US inventive workforce, on YouTube on May tenth, proclaiming it to be the start of “Miyavi Virtual.” But an anime music video doesn’t seize a actual efficiency. For that, a new technological strategy could be required.
Director David Cihelna talked with Miyavi’s US-based inventive administrators Dyan Jong and Annie Stoll about utilizing volumetric seize with the video for “Need for Speed,” the subsequent single. This is a method that employs a number of cameras directly to seize a 3D mannequin that can be utilized in CGI renderings. It permits for “virtual” video that’s based mostly on an precise efficiency — and naturally, it’s simpler to do safely than a conventional shoot proper now.
“The only physical shooting we did was in a volumetric capture studio in Japan,” Cihelna tells The Verge. “We had a minimal team there, pretty much just Miyavi recording 3D models of his movements. The rest of the team was on Zoom, I directed him remotely.”
“This technology is between VR, AR, and reality, so I was really fascinated,” Miyavi says. “Especially since it captures, like, my tattoos and my hairstyle! So it was pretty tough to choose a costume — I wasn’t allowed to wear any green stuff, it’s got to be really solid and tight because while shooting I was surrounded by a green background. It’s all imagination. It was a really interesting experience, and I felt the future. I think the key for the post-corona era is how real we can feel in a virtual world.”
“The capture studio has dozens of cameras pointed at him recording video that is then processed into frame-by-frame 3D models played back in the game engine,” Cihelna says. “That took half a day. The rest (99 percent) was all virtual and directly in Unity — camera movements, lighting, set design, VFX, color. I even used augmented reality to record camera shots in my living room.”
“The amount of data is huge,” Miyavi provides. “We could only use a seven minute clip — we shot more, but David and his staff had to go all through the data, and sending that data from Tokyo to LA is a big deal as well. I really appreciated it, all the staff and David and his team did a great job.”
The consequence, properly, appears to be like like a online game starring Miyavi. The decision on his mannequin is after all not as excessive as you’d get from a standard digicam or one thing rendered in 3D by hand, however the manufacturing leans into it with otherworldly glitches and particle results.
“It was cool — I’m using superpowers when playing the guitar!” Miyavi laughs, including that the results have been all added later based mostly on his efficiency. “I know it’s really hard work for them, but it’s fun for me just jumping around. We all like manga and anime, Dragon Ball and Akira, we all have the same references so I think we’re all connected as humans without having a conversation.”
The subsequent step for Miyavi was determining how he might really carry out live on-line. At first he turned to streaming on platforms like Twitch, YouTube, Weibo, and Line, establishing a studio in his house and performing a “Virtual Live” live performance standing at his desk. Unsurprisingly, the outcomes weren’t fairly as slick because the “Need for Speed” video, though it’s nonetheless hanging to see somebody theatrically shred on their Telecaster proper into a webcam in a setting that appears extra suited to streaming Overwatch.
“It’s quite challenging — setting up OBS, connecting the sound inside my PC, and I was doing the sound mix and lighting and everything,” Miyavi says. “So I just realized that I’m not a professional at this kind of thing. But I just didn’t want to stop, because there’s something we can do in any situation, and I didn’t want to give up — just [wanted to] find something, find a way to move forward. And I still think that was the right move even if it was not perfect, at least I was able to be connected with my fans and share time with them and with my creation.”
Miyavi then needed to attempt combining high-tech experimentation with live broadcasting. “We just did the broadcasting from a studio in Tokyo with drones,” he says. “That was the biggest priority for me to try — I didn’t even know how long drones can fly, you know? And that’s the approach that I’m trying to do in the real world.”
Miyavi Virtual Live Level 2.0 was a efficiency with a live drummer on a socially distanced stage with no viewers aside from the fleet of drones buzzing across the band and capturing its efficiency. “You can do anything with volumetric capture, but it takes time for the production, and I wanted to do broadcasting using my real body. It’s really important to experiment,” Miyavi says.
I haven’t seen the completed model of Miyavi Virtual 3.0, however from what I noticed it seems to be a related manufacturing — simply in a way more visually spectacular setting. Much of the video seize can also be by drone, and the mirrors and lights surrounding Miyavi make it seem like he’s performing in the center of a spectacular void. There’s a cause why teamLab Planets has been perhaps essentially the most ubiquitous “I finally went there” sight on Tokyo’s Instagram feeds because it opened a couple of years in the past.
Unlike 2.0, nonetheless, Virtual 3.0 gained’t be streamed live — it was pre-recorded, and also you’ll have to buy a $30 ticket to observe it over the interval of its availability. Outside Japan, you can begin viewing from 6PM ET at present. While the unique plan was for a live efficiency, Miyavi says that the choice to change to a pre-recording is “due to the intention of creating and prioritizing artwork that has high video quality, amazing light design etc.” (I’m undecided whether or not the shoots I used to be current for will really make it into the ultimate manufacturing, however you’ll be able to a minimum of take it from me that he was there and performing live.)
I needed to know the place Miyavi thinks he may go subsequent with these digital productions. Even earlier than the pandemic, digital live shows have been getting more and more standard, with Fortnite on the vanguard. Is this an space he’d prefer to discover?
“Yeah I’d love to!” he says. “Because now I’m really into Fortnite — I started playing Fortnite in 2018 while I was shooting the Maleficent sequel in London, because I had lots of time while waiting for my turn and I was playing with my daughters. Now I play with my daughters even before they go to school — we call it ‘Fort-morning,’ we wake them up and play for 30 or 45 minutes. As a musician, I feel the music Miyavi makes has a chemistry with those games. Even “Need for Speed” — [my wife] Melody was in the sport! She was one of many characters in [EA’s] Need for Speed over 10 years in the past. So Need for Speed, Fortnite, we consider that Miyavi’s music actually actually works with these high-energy ideas. But I’m all the time making an attempt to not play an excessive amount of!”
As far because the precise expertise of Fortnite in-game live shows goes, nonetheless, Miyavi thinks there’s room for enchancment. “That was cool as an advertisement, for sure,” he says of Travis Scott’s recent event. “There were lots of people — 10 or 20 million, right? So it’s huge numbers, and even before that Marshmello did it and Steve Aoki and other big players. It’s pretty cool, but I don’t know how much he performed for that performance. It seems like it was programmed, no? It was a creation, which is cool. But to me, it was not the chemistry between real and virtual worlds. It was 90 percent virtual, with the music made by human beings. So I didn’t feel real in that virtual world. Of course it’s great and I really respect it but I still kind of think there [can be] closer contact with people in a virtual world.”
Miyavi is cautious to notice that this experimentation is the direct results of a determined interval in human historical past. “I do not say that I am enjoying this time,” he says. “There are lots of crazy, sad things happening all over the world and people losing their jobs. Politics are turning really messed up, especially in the States. And then right after corona, Black Lives Matter [protests] started — sooner or later it was going to happen and it’s good to have it now so that we start facing the real deep issues and problems that America has been having, which actually other countries like Japan [also] have in some way.”
Miyavi believes that the worldwide scenario will immediate individuals to live and work in new methods even after issues enhance — himself included. “I’m a traveler — I travel a lot, and I love experiencing things with my eyes,” he says. “To feel that atmosphere is really really crucial. But at the same time, the world is going to be different, no matter what. Even if we get back to normal, I think that our lifestyle will be different, and the way we create will be different. Because now we know what we can do. This situation kind of pushed us forward. We had to find a way — what’s essential? What’s a core value? Even the meaning of music we make.”
“The skill I got in this life is to play the guitar with this physical body, so I wanna find a way to mix with virtual technologies. That’s my responsibility as a bridge to the next generation.”