>> Moment factory is a multimedia studio,
and what we do is basically, we design experiences
for the entertainment industry.
>> We work in airports, theme parks, public spaces.
The work range is pretty broad.
>> A lot of our work is also in concerts,
and you probably have seen some of our designs touring,
working with news, Childish Gambino and Madonna, Jay-Z,
Arcade Fire, Billy Eilish, Halsey.
Epic mentioned this opportunity to develop the new DMX
plugin for Unreal Engine.
This seemed very interesting for us
as designers, for the live industry to develop the tool
not only for our needs, but also to help Epic bridge the gap
from the physical world of the live events
to the digital world.
DMX was invented before JB was born.
>> It used to be mainly for stage lighting equipments.
Nowadays you can pretty much control
whatever software or hardware you
want as long as it supports the DMX protocol
as an input.
Thanks to DMX, you can also program a whole show inside of Unreal
by using those datastreams so you can ask a moving light to move,
change colors, turn on or turn off before even stepping
inside that venue.
For me, I think the biggest challenges in a live event
is the number of moving parts and often the time frame
that we have to execute.
>> You have to consider the set, the lights, the sound,
the pyro, the automation, choreographies, makeup.
It can go really far.
So it's the more the tool will give you, the better
you'll have an idea of what kind of achievement you'll get.
>> By using Unreal now we have a single standard
in-house that we can have all the different departments
work in.
So lighting is going to work inside the Unreal file.
At the same time, 3D modelers, artists, animators,
everybody is all part of the same project
and they're still seeing what everybody
is doing in real time, which is really great.
>> Pre Unreal Engine,
what was really missing was the quality of the texture
and the quality of the set you can build.
You know, mix with all the equipment that
is available in the entertainment
industry for the live events.
>> We've been quite impressed with what
we're seeing inside of Unreal.
Big, quality goebels
and just lighting up an environment.
There's currently a couple of different fixture types
based off real world fixtures.
The fun part is that you can build
fixtures to do exactly what you would like them to do.
It's always really difficult to share our lighting ideas
or whatever we're seeing in our heads to our clients.
Now that we have a tool like Unreal,
it really brings the client closer
to the creation experience.
The client really has the ability
to participate in real time with whatever we're developing.
They can have a full picture of what are we
actually selling them.
>> As show designers,
we're always trying to push the boundaries of innovation.
Unreal Engine is already one of the best tools out there.
Our goal with this project was really
to develop a tool that really suits our needs for the future,
not only show like the design to our clients,
but also create these virtual shows,
bring that virtual show into the real world.
And maybe go back to the virtual show
after and you're having like an encore as you getting home
an extra song.
And that can be linked to a secret performance
two days after that is happening somewhere else.
So I think there's a lot of doors you can open.
>> I think our mind is about to be blown
by the user base of Unreal.
And I'm very keen to see what crazy things
people will come up with.