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LG Rebrands Interactive Displays as CreateBoard, Adds Features, OPS, Peripherals — THE Journal

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Classroom Equipment

LG Rebrands Interactive Displays as CreateBoard, Adds Features, OPS, Peripherals

LG Business Solutions USA has introduced its 2022 interactive displays, rebranded as the LG CreateBoard, and added optional peripheral products such as mounts, mobile carts and an Open Pluggable Specification system, the company said in a news release.

The rebranded interactive display reflects LG’s stated commitment to expanding its education offerings, which includes a new team of learning technology experts and “new support structures that make it easier for IT directors and budget managers to select and implement optimized solutions that simplify user operation and maintenance,” the company said.

“LG is helping improve modern education through new technologies that support flexible learning environments, enhance educator capabilities, enable more engaging lessons for students and provide maximum utility through open-source compatibility with leading software platforms,” said Victoria Sanville, education account leader at LG Business Solutions USA. “Addressing a variety of needs for in-person, remote and blended learning, our purpose-built solutions help educators meet students where they are and develop more customized lessons as educational institutions increasingly embrace personalized learning.”

Available in 65-, 75-, and 86-inch models, the LG CreateBoard allows students to see what the teacher is presenting — even if they’re observing social distancing recommendations — and supports nearly all learning management systems, cloud drives, and online conferencing platforms used for in-person or hybrid/remote learning.

LG CreateBoards feature IPS display panels for wide viewing angles and 4K Ultra HD resolution, making details more easily viewable at a large scale, the company said. The device’s 20-point multi-touch surface enables on-screen collaboration, and the 1 millimeter gap between the IPS screen and anti-glare screen “ensures highly precise touch and on-screen writing experiences.” Also available with each CreateBoard are two stylus pens in various colors and tip sizes.

LG Business Solutions USA introduced its 2022 interactive displays, rebranded as LG CreateBoard, and added optional peripherals for education buyers.

The LG CreateBoard series comes embedded with the Android operating system, WiFi connectivity, ScreenShare Pro, Air Class software, and an optional OPS slot for conveniently adding a computer module, according to the news release. The OPS system is easy to install and reduces the need for cables and trunking, LG said.

The displays also include two built-in front-facing speakers, embedded Bluetooth connectivity, three HDMI ports, one RS-232C port, audio in/out, RJ-45 LAN ports and six USB 2.0/3.0 ports. For enhanced security, USB Block Mode prevents copying data to unauthorized devices.

Every LG CreateBoard is backed by a three-year limited warranty, LG said, with extended five-year coverage available for education buyers through the LG Honors program.

For more information, visit LG’s Education page.

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eSports

Troubled waters: The NLC is struggling to stay afloat after Riot’s sweeping changes to EMEA

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Before the new year begins, Riot Games revealed an entire treasure chest of changes headed to the European League of Legends scene, including a regional name change, new formats for the LEC, and a new ecosystem for tier two organizations. One league, however, is struggling to tread in these new waters: the NLC.

NLC teams are reportedly struggling to find funding and sponsors for the 2023 season due to the unstable situation in the league, according to independent journalist Brieuc Seeger. Recently, multiple major esports teams have pulled out of the league, including Excel Esports and Dusty Esports. Bifrost has also reportedly parted ways with all of its League staff, according to Seeger.

The league has been running since 2020, and has featured the Academy teams of several major European esports organizations, like Excel Esports, Astralis, and Fnatic. After an unsuccessful year in terms of finances, however, the NLC was forced to downsize its entire operation and become a non-accredited league. As a result, Seeger also said that sponsors are now hesitant to fund the league, especially after the NLC’s prize money and stipends were reduced from 200,000 to 45,000.

Related: LEC is getting a new look in 2023: Riot introduces 3 splits and over 300 games

“We tried our best throughout the year but sadly, we did not hit our partnership goals due to the current market situation,” the NLC said in a statement. “As such, it is no longer financially viable to continue at the level at which we have been operating. Therefore we have to take a step back for 2023 to establish an alternative path to lead the NLC into the future.”

There will be two splits in the year, one pro-am tournament called the Aurora Cup, and there will be eight or 10 teams competing in 2023, depending on the feedback from the teams. If the situation worsens, however, the NLC might need some major help in the coming months if this league wants to survive the new year.



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Why graphic novels are lucrative IP for Web3: From MEFaverse to metaverse

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Marvel’s multi-billion dollar IP enterprise is eating up the film and streaming market — but the metaverse is offering new opportunities and creating a whole new market.

Marvel is valued at nearly $6 billion for films alone, $40 billion for streaming and about $3 billion for consumer products, according to a 2021 Forbes analysis. While the media giant dominates the lion’s share of graphic novel IP in entertainment within film and streaming, the metaverse offers new opportunities for graphic novel IP. The ‘metaverse in entertainment’ market share is expected to increase to $28.92 billion by 2026. 

The entertainment market is essentially expanding with the creation of the metaverse, therefore presenting opportunities to replicate the lucrative success that Marvel has enjoyed. But what made Marvel so popular, and why is the multiverse primed for the metaverse? 

Since the inception of the metaverse as a concept, some of the earliest explorations have included the creation — and adaptation of — graphic novels for this new virtual environment. From Method Man’s comic book MEFaverse, to the adaptation of Dan LuVisi’s iconic Last Man Standing: Killbook of a Bounty Hunter, to Killtopia catering to Japan’s ‘Otaku’ community of manga and animé fans.

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But why is graphic novel IP so attractive to directors writing for a digital medium with interactive audiences? And what opportunities are potentially being left on the table? To understand the attraction of graphic novel IP, we only need to look at the formula of success that Marvel and DC have built. 

An ever-expanding world

Marvel’s IP is not one story, but a universe that continues to expand. Recent editions to Marvel’s onscreen world include She-Hulk: Attorney at Law, Ms. Marvel and the upcoming Secret Invasion. The stories that come to life in film and TV are often based on specific heroes within that universe — or, more aptly, the multiverse.

In film, appearance-altering costumes, special FX make-up and visual FX (VFX) enable directors to cast different actors to play the same character in the franchise. The most popular and talented actors, with the strongest following in the target demographic for the box office, can have their turn playing the hero. In fact, actors no longer need to sign long-haul multi-movie contracts with Marvel.

The metaverse offers even more creative diversity. Graphic novel characters can be customizable according to the themes of different concept artists, and the same character can travel through a manga world into one that’s photorealistic. Perhaps a good interpretation is Dr. Strange’s journey through the multiverses, as we see him enter a variety of differently stylized worlds until he eventually finds himself surreally realized as a colorful gelatinous shape. 

One of the key differentiators between a virtual world and a game within the metaverse — or what will be the metaverse — is this interoperability, the way in which an avatar could be used in different virtual worlds. The way avatars are translated stylistically in those different worlds is a key focus for metaverse builders. And it’s something Marvel has been doing well for some time. People love the graphic novel style of Marvel films and how they not only pay homage to the original art form but also amplify the movie experience with state-of-the-art VFX. 

For example, LMS: Killbook of a Bounty Hunter is being translated for the metaverse after amassing a core fanbase. LMS is simultaneously a scrapbook-style graphic novel, a character bible for the anti-hero Gabriel and an introduction to the colorful yet deadly world of ‘New Amerika’. Initially released as a series of artworks, LMS soon gathered a solid fanbase that demanded more of Dan LuVisi’s world. The rights to LMS were bought by Section 9, which approached metaverse-as-a-service company Sequin AR with the idea of creating an LMS metaverse. With a rich world and a pre-existing community, Sequin believed LMS was the perfect property for a metaverse environment. 

The attractiveness of graphic novel IP

Sequin AR’s CEO Rob DeFranco explains why the graphic novel IP was so attractive: “The world that Dan created is vivid, imaginative, and full of pop-culture references with a sharp satirical tone that makes it a model property for the metaverse. There is a big community already in place for LMS. For example, a Comic-Con special edition toy of Gabriel, created by the popular brand Funko, sold out on the first day of the convention. Since the book first launched 10 years ago, there has been a cultural shift in how we interact with the properties we love.” 

Graphic novels rely on captivating imagery, along with compelling stories. The community building the metaverse is a blend of creatives, technologists and storytellers, similar to the teams that produce the Marvel universe. For example, the team behind Method Man’s MEFaverse includes Method Man himself, and renowned graphics artist Jonathan Winbush of Winbush Immersive, with Xsens motion tracking technology helping them translate real-life movement into the digital world. It’s no coincidence that Winbush built his own brand as a creator from his time working at Marvel. 

“The trajectory of the NFT/Web3 space as a whole, in my opinion, only has one direction to go: up,” says Method Man. “I see no reason why it wouldn’t, as brands and individuals realize the unique opportunities and potential this space offers, as well as the utility it provides. That said, my hope is that it can continue to grow while remaining mindful of values such as inclusivity and positivity, which are both pillars of the MEFaverse community.”

The metaverse and the story of good vs. evil 

The metaverse has the potential to be many things, good or bad. Most metaverse evangelists also acknowledge how human influence tends to invade — and sometimes spoil — the utopian promise of future technology.

For example, Aragorn Meulendijks, Chief Metaverse Officer (CMO) from Your Open Metaverse, a distributed metaverse for streaming Web3 content, recently shared his candid thoughts on Elaine Pringle Schwitter’s HeadsTalk Podcast. According to Meulendijks, the mission for those building the metaverse needs to align with the reality of flawed human nature. This sentiment is omnipresent in Marvel; the premise of superhero films is that good and evil always exist in tandem, and even heroes are flawed. 

While there are inevitable flaws, the multiverse can also be employed altruistically. Representation and connection are frequent themes in graphic novels, often speaking to those who don’t feel part of mainstream pop culture. This links back to Winbush’s work on the MEFaverse.

“We wanted to create more ‘metamasks’ or PFPs with different traits to represent our community,” he explained. “Method Man’s motivation in creating the MEFaverse was to show his fans their powers, the unique traits that make them who they are but in the superhero realm. Method Man wanted everyone that was excited about the MEFaverse to have a mask that truly represents them. He wanted his community to be shown their unique powers in a superhero realm.”

The building blocks of film production are being used to build the metaverse

The technology that underpins movie production is driving metaverse creation. For example, motion capture is harnessing and translating movement to avatars, while Unreal Engine is being used to create the worlds themselves.

Charles Borland, founder of real-time studio Voltaku explained: “When I was an actor in a video game called Grand Theft Auto IV, I would spend a lot of time in a mocap suit, and I’d been on a lot of TV and film shoots and saw just how inefficient the Hollywood production process is. I remember thinking, holy cow, when this technology and the economics get to a certain point, all of this gaming technology and real-time technology is going to revolutionize filmmaking and how you make content.” 

Talking about the use of technology in Killtopia, Charles elaborated: “If we’re going to build this in a game engine, like Unreal Engine, then we [had]to do things like set up a camera inside of Unreal. We knew we were going to have an actress and we were going to try and do this in real-time, but one of the things we were looking at was real-time ray tracing, and to push the envelope on that. We couldn’t go into the studio and do full camera tracking, so we wanted to find something inertia-based. Using the Xsens suit, capturing the raw mocap data, enabled us to create the avatars”. 

From an investment standpoint, how Marvel’s magic formula for success translates to the metaverse is clear. But IP in the metaverse goes far beyond a franchise of characters. Fans build on these worlds themselves, becoming creators in their own right. And in order to create, they need to feel invested. And that’s where the technology underpinning interoperability is key.

Blockchain blockbusters

Killtopia’s Charles Borland explains: “To invest in interoperability, stakeholders and project owners need to know that the assets for whom they’re building aren’t going anywhere. Of course, that’s if by ‘decentralized,’ you mean you’re applying blockchain. What’s great about that is it’s immutable and it’s public. So I know if I build around a project, even if it tanks, my pipeline will stay. Because the things I’ve been referencing and looking at are going to stay online in this decentralized file hosting system, which is great.”

This is an example of how the technology used in metaverse creation is improving the entire production pipeline. Accelerating the content production workflow, and safeguarding the assets for future use, is a challenge even Marvel faces. 

Cultural shift between content creators and consumers

Borland highlights the cultural shift in how we interact with the properties we love. COVID-19 drove the rapid acceleration in digital experiences, helping us to forge genuine connections when real-life interaction wasn’t possible. The convergence of these behavioral changes and technology advancements is now paving the way for the future metaverse, with mixed reality live performances — which became more prevalent during the recent pandemic — offering a hint of what we might expect. 

Brett Ineson, founder of Animatrik Film Design, which has hosted mixed reality performances for Justin Bieber, Pentakill with Wave XR and even virtual circuses with Shocap Entertainment, says: “Nailing the look and feel of a world will be paramount to delivering the illusion of reality, and that’s where capture technology will come into play. Motion capture will be essential for creating lifelike animation for characters and creatures in these virtual worlds so that players feel like they are interacting with real beings.”

Technologists and storytellers are helping to unleash the potential of new IP into the metaverse. Right now, the reality is that the metaverse does not exist, but it represents the next step in immersive and engaging entertainment. The more engaged a community is, the more invested it is in the story. Powered motion tracking, performance capture, interoperable avatars, virtual worlds and hip hop artists-turned-super heroes, the metaverse is prime real estate for the next Marvel enterprise. 

Rob DeFranco is CEO of Sequin AR.

Brett Ineson is cofounder of Animatrik Film Studios.

Remco Sikkema is senior marketing communications manager at Movella and Xsens.

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Doubling down on Matthews: TSM adds Ari and Whitemon to Dota 2 roster

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TSM’s Dota 2 roster has been going through major changes after the team’s disappointing run at The International 2022. Earlier in the roster shuffle season, TSM parted ways with Dubu, moved MoonMeander to the coach position, and the organization announced Matthew “Ari” Walker and Matthew “Whitemon” Filemon would take on their mantle.

In addition to Evil Geniuses moving to South America, TSM’s latest roster move is one of the most intriguing in the North American Dota 2 region. Not only did the team bring in two talents from two different parts of the world, but the roster got dramatically younger in the process.

MoonMeander and Dubu are 30 and 29 years old, respectively, while Ari is 19 and Whitemon is 22. With MoonMeander moving to a coaching position, it looks like TSM decided to bring in young talent in the hopes of developing them in NA.

Despite his young age, Whitemon has been a part of strong rosters in SEA like Geek Fam and T1. Ari, on the other hand, was only beginning to participate in the Dota Pro Circuit, as he only previously played with Into The Breach. Ari’s resume might look a little short in Dota for now, but his past speaks volumes.

Ari is a former Heroes of the Storm professional player who made the transition to Dota 2 in 2019 after HotS scrapped its esports scene. Only two years after making the switch, Ari reached 9,000 MMR and 11,000 MMR in 2022. His ability to learn rapidly and improve in an unmatched speed were recognized by other European talents, and Ari made it to the TI11 WEU qualifiers with Into The Breach, finishing fourth.

With TSM’s roster getting even younger, it will be up to coach MoonMeander to shape the hot-blooded talent into the best versions of themselves. The current iteration of TSM features:

  • Enzo “Timado” O’Connor
  • Jonathan “Bryle” Guia
  • Jonáš “SabeRLight-” Volek
  • Matthew “Ari” Walker
  • Matthew “Whitemon” Filemon

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