Ratatoskr

Speaker(s): Meike Müller, Filmakademie Baden-Württemberg, Animationsinstitut, Germany

Meike Mueller is an animation filmmaker and graduate of the Filmakademie Baden-Wuerttemberg. Before she began studying at the Film Academy, she successfully completed her studies in Media Computer Science at the Hochschule Harz - University of Applied Science. From early on she specialised in the art of animating 3D characters and was thus part of numerous student projects at the Film Academy, such as Creature Pinup, Behind the Beard, Shine and her diploma film Ratatoskr. During her one-year stay in London, she worked at the renowned animation studios Bluezoo Animation, MPC and later also at Woodblock in Ludwigsburg, Germany.

Description: Two things immediately stand out when watching the student film Ratatoskr: the high production quality of its characters and the complexity of its environment. From the upper, bright layer of the world-tree of Yggdrasil, to the darker, cave-like lower layer, each set of this film is overflowing with details in every nook and cranny. The environment became a character in and of itself during production, being planned out carefully to make only specific areas visible in an effort to tackle the enormous complexity of our Maya scenes once set-dressing had started. So how did we tackle this important part of the storytelling? Our approach was to split out the set-dressing into several Maya scenes and use Maya's paint effects. After having first created a big asset library of plants, we realized that they would not work as well as we had hoped, and that we would need something that would grow around the tree-trunks more organically - some procedural generated vegetation, that takes the actual surface and the underlying normal orientation into account. A bunch of bespoke plant presets, pipeline scripts and automations helped us to paint directly on the high-poly surfaces of the tree trunks, convert everything to polygons, handle UVs, and finally write out a geometry cache. Using this approach, every member of the team was capable of creating environments by themselves, which was a huge time-saver and productivity-booster for us. Everything was assembled via a scenegraph-XML file (which saved world space position and references to all of the scene elements) that was later parsed into Katana to assemble the individual cached assets together. In summary, it is fair to say that Katana, and our shotgun-based pipeline, were the most important pillars for accomplishing a high production quality throughout the film.

Kinky Kitchen

Speaker(s): Bea Höller, Filmakademie Baden-Württemberg, Animationsinstitut, Germany

One woman, two breasts and a very long story.

Description: What exactly makes Kinky Kitchen special? We live in a time where sexuality is no longer a strong taboo, but is still treated cautiously. Since in our film we depict sexuality as something quite normal by simply driving the camera past funny protagonists, the confrontation becomes a pleasure for everyone. We are happy and proud that Kinky Kitchen did not only cause lustful glances from us, but also gets attention from people all over the world. An excerpt of the festivals that featured Kinky Kitchen so far underlines this: Siggraph USA, Animest, Briefs Erotic Short Film Festival, Cartoons Underground, Cortoon Festival, Fish&Chips Film Festival, GirlsGoMovie, Kaboom, LGBTQ Short Films, Animatou International Festival, Monstra, Montgomery International Festival, Ottawa Film Festival, Pop Porn Festival, Porn Film Festival, Saga Adeline, Shnit Short Festival, Stuff MX Festival, Thessaloniki Animation Festival, FMX What makes Kinky Kitchen special is the gimmick with the expectations of the audience. What do you expect when you hear sexual noises? Since everything takes place in a colorful and plastic-like world, it seems all the more irritating to listen to explicit noises. It is interesting to observe the audience's reaction to the film's breakdown. It is important to us that the structure of the trailers plays with this concept of society. The expectation of the sexual action builds up and is told by the simple camera work in a plot twist, as a casualness. The camera simply pans past the event without stopping, influencing the story or taking a judgmental stance. For our director Bea, film has always been a powerful instrument and a large and important part of her work as a medium for depicting sexuality in public space. Our wish is to portray sexuality as something normal in the real world and thus to train the acceptance of society.

Pumpers Paradise

Speaker(s): Eddy Hohf, Filmakademie Baden-Württemberg, Animationsinstitut, Germany

Born in Hamburg in 1988, Eddy Hohf spent time in Canada and worked as a freelancer in an online media agency. He finished his bachelor degree in media design at the Fachhochschule Muenster in 2014. Since October 2014, he studies Animation at the Filmakademie Baden-Wuerttemberg in Germany.

Description: Pumpers' Paradise is the first sketch series, which focus exclusively on the modern fitness-culture while made by absolute non-fitness people. We created a world filled with bodybuilders with just five rigs and without using any muscle-system. The project was also supported by our own pipeline, developed by fellow-students.

The Gift

Speaker(s): Against AllOdds, Passion Paris Production, France

Helmed by directors Derek Picken, Niklas Rissler, and Kevin Grady, AgainstAllOdds is a collective of designers, directors and animators based in Stockholm, working together to create compelling stories and bring them to life with animation. They dabble in many forms of communicative expression but the core of the studio thrives on character-based storytelling. In 2015 they directed the Spanish national lottery's film – whose lovable ‘Justino’ character took the world by storm and picked up the Grand Prix at Cannes in 2016. Most recently, they directed an explosive trailer and titles for the BBC’s Rio Olympics coverage.

Description: Driven by last year’s success, it is with no surprise that Manor along with their agency BETC Shopper and Passion Paris, have decided for the second year running, and without hesitation, to dream up a new Christmas tale. The main challenge was to update the last year characters, to give them a fresh look and add new environments, while keeping the same universe feeling.

Forglemmegei

Speaker(s): Luce GROSJEAN, Miyu Distribution, France

Description: When a lifelong friend departs, a stubborn old man has to face his inner fears in order to restore peace to his mind.

Deepness of the Fry

Speaker(s): Luce GROSJEAN, Miyu Distribution, France

Description: What makes us special? What makes us stand out? What makes us unique? Nothing.

Selfish

Speaker(s): Po Chien Chen, Sheridan College, Taiwan

With traditional painting experience over 15 years, Chen, Po Chien is a computer animation artist making animated films to speak of our environment and human goodness. Po Chien is a current student studying Digital Creature Animation program at Sheridan College in Canada, focusing on surfacing, lighting and rigging.

Description: "Selfish" is about human beings are consuming delicious seafood, but sea animals are suffering from the trash we made-- not only do we eat them but also make their living environment poisonous and miserable. The film was selected in several international film festivals, such as Edmonton International Film Festival, Rhode Island International Film Festival, International Short Film Festival in Drama and Oakville Film Festival.

"Birth of Planet Earth" Fulldome Excerpt: Photosynthesis in a Chromatophore

Speaker(s): Donna Cox, The National Center for Supercomputing Applications (NCSA), University of Illinois at Urbana-Champaign, United States of America
Robert Patterson, The National Center for Supercomputing Applications (NCSA), University of Illinois at Urbana-Champaign, United States of America
Stuart Levy, The National Center for Supercomputing Applications (NCSA), University of Illinois at Urbana-Champaign, United States of America
AJ Christensen, The National Center for Supercomputing Applications (NCSA), University of Illinois at Urbana-Champaign, United States of America
Kalina Borkiewicz, The National Center for Supercomputing Applications (NCSA), University of Illinois at Urbana-Champaign, United States of America
Jeff Carpenter, The National Center for Supercomputing Applications (NCSA), University of Illinois at Urbana-Champaign, United States of America
Melih Sener, Beckman Institute, University of Illinois at Urbana-Champaign, United States of America
John Stone, Beckman Institute, University of Illinois at Urbana-Champaign, United States of America
Barry Isralewitz, Beckman Institute, University of Illinois at Urbana-Champaign, United States of America

Dr. Donna J. Cox, MFA, is the first Michael Aiken Chair, Director of the Advanced Visualization Laboratory, the Research & Education division, and the eDream Institute at the National Center for Supercomputing Applications; and Professor School of Art+Design, University of Illinois. She and her collaborators millions with cinematic presentations of science in international fulldome digital museum shows, IMAX movies, and feature films. She is co-editor and contributor to “New Media Futures: The Rise of Women in the Digital Arts” (2018). She’s received numerous awards. ACM SIGGRAPH awarded her the distinguished lifetime achievement award for digital art, July 2019.

Robert Patterson is a visualization designer at NCSA’s Advanced Visualization Lab and Associate Director for Production of the eDream Institute. For over 25 years, he has collaborated with scientists to produce visualizations for informal science education. Patterson choreographed and art directed visualizations that have appeared in NOVA, Discovery Channel, IMAX 3D and planetarium productions. Patterson co-created Virtual Director, a tool that enables voice and gesture-controlled navigation and camera choreography for collaborative design of visualizations. He creates cinematic presentations of scientific data in astrophysics, astronomy, networking, atmospheric science, and oceanography for stereoscopic 3D and UHD displays to inspire broad public audiences.

Stuart Levy is a research programmer, geek, and systems administrator at the Advanced Visualization Lab at NCSA. He enjoys data conversion, and is the current maintainer of the group’s Virtual Director software and related tools, including partiview. He is passionate about physics and astronomy, but happy to be able to work on visualizing molecular machinery too. Among past contributions to pieces that have appeared in SIGGRAPH’s Electronic Theater, his favorite credit is as “technical shepherd.”

AJ Christensen is a visualization programmer for the Advanced Visualization Lab at the National Center for Supercomputing Applications at the University of Illinois at Urbana-Champaign. He focuses on scripting, scene design, derived data, and data flow, and is a programmer-designer for visual effects tools like Houdini and Nuke. In addition to his film credits with the AVL, he contributed to the Oscar winning science-inspired renderings of gravitational lensing around a black hole in the film “Interstellar” with effects studio Double Negative.

Kalina Borkiewicz is a visualization research programmer in the Advanced Visualization Lab at the National Center for Supercomputing Applications, where she writes software that processes and visualizes various types of massive scientific data. She recently created the open-source software Ytini to make visualization tools freely available to artists and scientists. Kalina contributed to the creation of such films as "A Beautiful Planet" (IMAX), "Solar Superstorms" (fulldome), and "Seeing the Beginning of Time" (4K). She gave a talk at TEDxUIUC, a local chapter of the TED conference, describing her path as a woman engineer.

Jeff Carpenter is a multimedia designer and post-production specialist. He collaborates with scientists and artists to bring their work to a wider audience. He focuses on the art/design side of the production pipeline, including 2D & 3D visualization, media design, video production, editing, and compositing. Jeff is fluent in a variety of tools, including Adobe Photoshop, After Effects, Premiere Pro, Nuke, Maya, and Houdini. Jeff’s work has been seen on PBS, the Big Ten Network, planetarium & theatrical venues around the world, with permanent exhibits at the Museum of Science and Industry in Chicago and the Spurlock Museum.

Melih Sener is a theoretical biophysicist specializing in the harvesting of sunlight in nature as an energy source to sustain life. The questions addressed in his computational work include how cellular mechanisms achieve high efficiency, robustness, and optimality, and what we can learn from nature to design better solar energy solutions. 15 of his collaborative publications over the past decade form the basis of the energy conversion animation shown here. As an extension of his quantitative studies of nature, he performs outreach on numerical literacy for the general public as a guide to informed policymaking.

John Stone is the lead developer of VMD, a high performance tool for preparation, analysis, and visualization of biomolecular simulations used by over 100,000 researchers all over the world and cited by over 28,000 research publications. Mr. Stone's research interests include molecular visualization, GPU computing, parallel computing, ray tracing, haptics, virtual environments, and immersive visualization. Mr. Stone was inducted as an NVIDIA CUDA Fellow in 2010. In 2015 Mr. Stone joined the Khronos Group Advisory Panel for the Vulkan Graphics API.

Barry Isralewitz, Ph.D. works as a research programmer for the Theoretical and Computational Biophysics Group at the Beckman Institute for Advanced Science and Technology at the University of Illinois at Urbana-Champaign. He received his doctorate in Biophysics from the University of Illinois in 2007. In his doctoral work, Isralewitz performed some of the earliest steered molecular dynamics simulations, including modeling force application to titin domains, and studied stalk rotation and domain interaction in ATP synthase. As a post-doctoral researcher and then as a research programmer, Isralewitz has developed multiple computational tools to analyze, visualize, and animate molecular dynamics simulations.

Description: This visualization of the quantum-mechanical process of photosynthesis involved combining structural models from atomic, protein, organelle, and cell scales. We descend into a prehistoric hot spring, revealing primitive bacteria which use an early form of photosynthesis to turn sunlight into chemical energy in structures called chromatophores. This fulldome animation follows the energy through progressively more stable forms: a captured photon; electronic excitation; pumped protons; and finally, synthesis of ATP molecules. The team used VMD, a GPU-accelerated molecular visualization tool, to create geometric abstractions from a 5-million-atom static snapshot of the scientific research model. To achieve an organic flight path through the 3D data, they adapted their Virtual Director camera choreography software to interface with VMD. In Houdini, they choreographed particle effects which were then exported to VMD for rendering of the hero chromatophore. Nine more layers were rendered in Houdini’s Mantra, including 500,000 instanced chromatophores and particle effects, 300 high-resolution cell membranes, and depth passes to control luminance and depth effects. The visualization treatments from Houdini and VMD were combined in Nuke for a seamless flight through this dynamic microscopic light show.

The Heretic (Part 1)

Speaker(s): Veselin Efremov, Unity Technologies, Sweden
Silvia Rasheva, Unity Technologies, Sweden

Veselin Efremov is an award-winning writer, director and art director with 17 years of experience in the game development industry. He has been Creative Director for Unity’s Demo Team since 2014, and wrote, directed, and art-directed Unity's groundbreaking real-time short films The Blacksmith (2015), Adam (2016) and Book of the Dead (2018). His most recent project is the real-time short film The Heretic (2019).

Silvia is leading the production of in-house created demos designed to push the limits of the visual and artistic quality which is possible with the Unity game engine. A selection of her real-time rendered short films as a producer are the highly acclaimed "The Blacksmith" (2015), "Adam" (2016), cinematic-interactive demo "Book of the Dead" (2018) and the latest short “The Heretic” (2019).

Description: One of the biggest artistic and technical challenges today is creating photorealistic, animated humans. The Heretic is Unity’s first attempt to tackle this and is scoped with the purpose to establish a pipeline and a bar of quality. It’s a real-time short running at 30 fps at 1440p on a consumer-class desktop PC, combining 3D and 4D scanning in order to obtain both a high-quality set of textures and poses and believable, realistic movement. This first part of the project was revealed at GDC 2019.

Maestro

Speaker(s): Luce Grosjean, Miyu Distribution, France

Description: Deep into a forest, a gathering of wild animals start a nocturnal opera, conducted by a squirrel.

Gunpowder

Speaker(s): Patrick De Carvalho, Je Regarde, France
Romane Faure, Supinfocom Rubika, France
Nathanael Perron, Supinfocom Rubika, France
Léa Detrain, Supinfocom Rubika, France
Benoît de Geyer d'Orth, Supinfocom Rubika, France
Pei-Hsuan Lin, Supinfocom Rubika, France
Anne-Lise Kubiak, Supinfocom Rubika, France

Distributor

Romane has graduated from Supinfocom Rubika school (Valenciennes, France) with a Master in digital director. With Nathanael Perron, Léa Detrain, Benoît de Geyer d'Orth, Pei-Hsuan Lin and Anne-Lise Kubiak, she co-directed the film "Gunpowder".

Nathanael has graduated from the Supinfocom Rubika school in Valenciennes with a Master in digital director.

Léa has graduated from the Supinfocom Rubika school in Valenciennes with a Master in digital director.

Benoît has graduated from the Supinfocom Rubika school in Valenciennes with a Master in digital director.

Pei-Hsuan has graduated from the Supinfocom Rubika school in Valenciennes with a Master in digital director.

Anne-Lise has graduated from the Supinfocom Rubika school in Valenciennes with a Master in digital director.

Description: lt's teatime! Unfortunately for Phileas all his teaboxes are empty! He decides to go get some to the source, in China!

400 Mph

Speaker(s): Patrick De Carvalho, Je Regarde, France
Paul-Eugène Dannaud, Supinfocom Rubika, France
Julia Chaix, Supinfocom Rubika, France
Lorraine Desserre, Supinfocom Rubika, France
Alice Lefort, Supinfocom Rubika, France
Natacha Pianeti, Supinfocom Rubika, France
Quentin Tireloque, Supinfocom Rubika, France

Distributor

Paul-Eugène has graduated from Supinfocom Rubika school (Valenciennes, France) with a Master in digital director. With Julia Chaix, Lorraine Desserre, Alice Lefort, Natacha Pianeti and Quentin Tireloque, he co-directed the film "400 Mph"

Julia has graduated from the Supinfocom Rubika school in Valenciennes with a Master in digital director.

Lorraine has graduated from the Supinfocom Rubika school in Valenciennes with a Master in digital director.

Alice has graduated from the Supinfocom Rubika school in Valenciennes with a Master in digital director.

Natacha has graduated from the Supinfocom Rubika school in Valenciennes with a Master in digital director.

Quentin has graduated from the Supinfocom Rubika school in Valenciennes with a Master in digital director.

Description: On the Bonneville salt flats, the sound of roaring engines can be heard in the distance. At the wheel is Icarus, a chimpanzee hell-bent on transcending the limits of speed. Aboard iconic and increasingly powerful vehicles, Icarus will attempt to reach the ultimate speed of 400 Mph, thought to be impossible for land vehicles. As Icarus reaches for the sky, will he prevail or be consumed by his self-destructive quest?

Deloitte - At the Beginning of Everything

Speaker(s): Nahuel Matias Salcedo, Onesal Co. Ltd, Japan

Nahuel is a motion designer currently working as Creative Director at Onesal in Tokyo. Originally from Buenos Aires, he moved to Tokyo to work with and learn from the local design community. Most of his work being broadcast design and advertising for tech and sports brands, his personal style is characterized by the use of bold, clean, highly contrasting colors, realistic textures, and dreamy landscapes.

Description: World's largest consulting firm Deloitte has released the global campaign ‘Make Your Impact’ via Deloitte Digital. Deloitte invited Onesal to design and animate the brand film for the campaign. Our task was to illustrate new technologies and its impact in the world in an optimistic, inviting way, showing how decisions we make today, make tomorrow. Starting with a green dot, we did an abstract exploration of the evolution of the dot from different perspectives.​​​​​​​Transforming, expanding, and creating new meaning, yet always returning the circular green dot to start over.

Splendor

Speaker(s): Joe Takayama, Musashino Art University, Japan

Joe Takayama is a CGI artist and an associate professor of Musashino Art University, Tokyo, Japan. He started to produce algorithmic computer animations when he was an undergraduate student at the university. After graduation, he went on to the graduate school of Kyushu Institute of Design, and Kyushu University. After finishing his Ph.D., he moved to the U.S. as a visiting scholar of The University of Texas at Dallas. Following his return to Japan, he was a lecturer at Kyushu Sangyo University before the present position. Some of his works have been screened at past SIGGRAPH and SIGGRAPH Asia conferences.

Description: “Splendor” is an algorithmic computer animation piece that features geometrical patterns found in Japanese traditional crafts. This work specifically focused on Kiriko (Japanese cut glass) and Kumiko (Japanese wooden lattice work). Both are characterized by expert craftsmanship featuring intricate geometrical patterns. This project used a computer algorithm to describe and recreate these traditional patterns. To simulate the traditional patterns, it focused on a technique called an L-system, which is normally used for modeling and simulating the growth of plants in the field of computer-generated imagery. An L-system can generate a string of characters by rewriting itself based upon a specific grammar. Also, by replacing the character strings with a geometry, it enables to generate complicated two- and three-dimensional structures. In addition, L-systems can easily display the process of the growing shapes as an animation. Based on the above characteristics, I was able to simulate not only the geometrical patterns of Kiriko and Kumiko, but also the process of their pattern growth. To describe the patterns using an L-system in more familiar terms, I used an approach of emulating a growing tree. I defined grammatical rules by considering the pattern of a plant growing branches from the trunk and then buds and flowers blooming from the branches. All of the patterns in this work were generated using a single L-system with a modification of the grammatical rules. The patterns created are faithful to tradition and are found in real artifacts in Japan.

The Ostrich Politic [Best Student Project]

Speaker(s): Luce GROSJEAN, Miyu Distribution, France

Description: Ostriches carry on their daily activities burying their heads, believing It’s an instinctive behavior. However, one day a research by phylogeneticist Dr. Kays proves otherwise.

Hedgehog

Speaker(s): Luce GROSJEAN, Miyu Distribution, France

Description: A little boy speaks about hedgehogs all the time to everybody.

Best Friend

Speaker(s): Luce GROSJEAN, Miyu Distribution, France

Description: In a near future, a lonely man is addicted to a product called «Best Friend» which offers him perfect virtual friends.

NASA's Black Marble Night Lights Used to Examine Disaster Recovery in Puerto Rico

Speaker(s): Kel Elkins, NASA, USRA, United States of America

Kel Elkins is a data visualizer with NASA’s Scientific Visualization Studio at the Goddard Space Flight Center in Greenbelt, MD. He works with scientists to visualize data from NASA missions, including both observational data (from satellites, aircraft, etc.) and supercomputer simulations. These visualizations promote a greater understanding of Earth and Space Science research activities at NASA. Kel holds a Master’s degree in Computer Science and Game Technology from the University of Pennsylvania and a Bachelor’s degree in Aerospace Engineering from Pennsylvania State University.

Description: At night, Earth is lit up in bright strings of roads dotted with cities and towns as human-made artificial light takes center stage. During 2017's Hurricane Maria, Puerto Rico's lights went out. In the days, weeks and months that followed, NASA researchers developed neighborhood-scale maps of lighting in communities across Puerto Rico. To do this, they combined satellite data of Earth at night from the NASA/NOAA Suomi National Polar-orbiting Partnership satellite with USGS/NASA Landsat data and OpenStreetMap data. They monitored where and when the electricity grid was restored, and analyzed the demographics and physical attributes of neighborhoods longest affected by the power outages. Power failures across Puerto Rico’s rural communities accounted for 61 percent of the estimated cost of 3.9 billion customer-interruption hours, six months after Hurricane Maria. These regions are primarily rural in the mountainous interior of the island where residents were without power for over 120 days. However, even more heavily populated areas had variable recovery rates between neighborhoods, with suburbs often lagging behind urban centers. The absence of electricity as seen in the night lights data offers a new way to visualize storm impacts to vulnerable communities across the entirety of Puerto Rico on a daily basis.

ILM Behind the Magic 2019

Speaker(s): Greg Grusby, Industrial Light & Magic, United States of America

Description: A sample of the visual effects and animation work created in 2019 for a variety of feature films including Birdbox, Aquaman, Captain Marvel, Avengers: Endgame, and Bumblebee.

Mascot

Speaker(s): LEEHA KIM, Studio LEEHA, South Korea

Born in Daegu, South Korea, 1980. February 2008 Graduated from the Visual Image Design Department of Hansung University. Graduated from the Department of Animation at the Korea National University of Arts in February 2017. It is currently producing short animation in Studio Leeha.

Description: The fox who wants to be a mascot for the city goes to a mascot training academy. He lives in a very tiny house and works many part-time jobs. He is still getting many Mascot auditions with taking loans at a high-interest rates for undergoing plastic surgery.

Spring [Jury Prize]

Speaker(s): Francesco Siddi, Blender, Netherlands

Francesco is producer and studio manager at Blender Animation Studio in Amsterdam.

Description: Spring is the story of a shepherd girl and her dog, who face ancient spirits in order to continue the cycle of life. This poetic and visually stunning short film was written and directed by Andy Goralczyk, inspired by his childhood in the mountains of Germany. The Spring team used the development version of Blender 2.80 for the entire production, before the software was in official Beta even. As for all of Blender’s Open Movies, the entire production process and all its source files are being shared on the production platform Blender Cloud.

Kids [BEST IN SHOW]

Speaker(s): Wouter Jansen, Some Shorts, Netherlands
Michael Frei, Playables, Switzerland

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Born in Switzerland in 1987, he is a filmmaker and artist based in Zürich. He studied animation at the Lucerne University of Applied Sciences and Arts and at the Estonian Academy of Art in Tallinn. His Films «Not About Us» and «Plug & Play» received numerous awards all over the world. He was invited «Animation Artist in Residence Tokyo» in 2014. His interactive project «Plug & Play» became an internet phenomenon. Funny. He recently co-founded Playables, a production company for peculiar projects based in Zürich.

Description: KIDS is a game of crowds. The project consists of a short film, an interactive animation and an art installation. How do we define ourselves when we are all equal? Who is steering the crowd? What if it is heading in the wrong direction? Where does the individual end and the group begin? What is done by choice, and what under duress? KIDS was made using traditional 2D hand-drawn line animation in black and white. The animation was assembled, composited and choreographed using a game engine with a custom-made animation system in conjunction with physics simulations. The characters in a crowd behave much like matter: They attract and repel, lead and follow, grow and shrink, align and separate. They are purely defined by how they relate to one other - without showing any distinguishable features. KIDS is the second collaboration of filmmaker Michael Frei and game designer Mario von Rickenbach after their project PLUG & PLAY. The project is co-produced by Playables, SRG SSR and Arte. The app is published by Double Fine Presents for mobile devices and computers.