#crx 2019

[sophaeros]

Q: If, like Kiss did, The Strokes released simultaneous solo albums, what would they be like? Julian: “I’d like to collaborate on them, but they probably wouldn’t let me near them. Fab’s would be kinda gothic, a lot of classical-type instrumentation – like low-pitched choirs in the background, keyboards, and his voice would have a lot of reverb on it. Albert would have the most Strokes-style solo record, with lots of funny disjointed riffs, and the theme would be love and relationships. Nick would have a Motley Crew-meets-Blur record with high-pitched [imitates Bruce Dickenson yowl] ‘Waaaaaah’ vocals. Nikolai would have an indie, chilled out, [laughs] bass-driven album.”

— the strokes for q magazine, april 2002 / wr. danny eccleston (x)

fab: knots - machinegum (2019)

albert: caught by my shadow - ahj (2015)

nick: walls - crx (2016)

nikolai: burnin_up - summer moon (2023)

[luchiaketchum-art]

redraw of old crx sketch from 2019 I tried to colo but gave up on now,,, I miss them...

[loupcurieux]

CRX

J'allais dire que CRX est mon addiction du moment, mais nan. Je trouve leur album Peek très très bon, au point que je trouve que rien n'est à jeter dessus.

[scicrobot]

What are the Differences Between ABB, Fanuc and Universal Robots?

What are the differences between ABB, Fanuc and Universal Robots? 1. FANUC ROBOT The robot lecture hall learned that the proposal of industrial collaborative robots can be traced back to 2015 at the earliest. In 2015, when the concept of collaborative robots was just emerging, Fanuc, one of the four robot giants, launched a new collaborative robot CR-35iA with a weight of 990 kg and a load of 35 kg, becoming the world's largest collaborative robot at that time. CR-35iA has a radius of up to 1.813 meters, which can work in the same space with humans without safety fence isolation, which not only has the characteristics of safety and flexibility of collaborative robots, but also prefers industrial robots with large loads in terms of load, realizing the surpassing of collaborative robots. Although there is still a big gap between body size and self-weight convenience and collaborative robots, this can be regarded as Fanuc's early exploration in industrial collaborative robots. With the transformation and upgrading of the manufacturing industry, the direction of Fanuc's exploration of industrial collaborative robots has gradually become clear. While increasing the load of collaborative robots, Fanuc also noticed the weakness of collaborative robots in convenient working speed and convenient size advantages, so at the end of 2019 Japan International Robot Exhibition, Fanuc first launched a new collaborative robot CRX-10iA with high safety, high reliability and convenient use, its maximum load is up to 10 kg, working radius 1.249 meters (its long-arm model CRX-10iA/L, The action can reach a radius of 1.418 meters), and the maximum movement speed reaches 1 meter per second. This product was subsequently expanded and upgraded to become Fanuc's CRX collaborative robot series in 2022, with a maximum load of 5-25 kg and a radius of 0.994-1.889 meters, which can be used in assembly, gluing, inspection, welding, palletizing, packaging, machine tool loading and unloading and other application scenarios. At this point, it can be seen that FANUC has a clear direction to upgrade the load and working range of collaborative robots, but has not yet mentioned the concept of industrial collaborative robots. Until the end of 2022, Fanuc launched the CRX series, calling it an "industrial" collaborative robot, aiming to seize new opportunities for the transformation and upgrading of the manufacturing industry. Focusing on the two product characteristics of collaborative robots in safety and ease of use, Fanuc has launched a full series of CRX "industrial" collaborative robots with the four characteristics of stability, accuracy, ease and province by improving the stability and reliability of products, which can be applied to small parts handling, assembly and other application scenarios, which can not only meet the needs of industrial users for collaborative robots with higher requirements for space, safety and flexibility, but also provide other customers with a high-reliability collaborative robot product. 2. ABB ROBOT In February this year, ABB grandly released the new SWIFTI™ CRB 1300 industrial-grade collaborative robot, ABB's action, many people believe that it will have a direct impact on the collaborative robot industry. But in fact, as early as the beginning of 2021, ABB's collaborative robot product line added a new industrial collaborative robot, and launched the SWIFTI™ with a running speed of 5 meters per second, a load of 4 kilograms, and fast and accurate. At that time, ABB believed that its concept of industrial collaborative robots combined the safety performance, ease of use and speed, precision and stability of industrial robots, and was intended to bridge the gap between collaborative robots and industrial robots. 3. UR ROBOT In the middle of 2022, Universal Robots, the originator of collaborative robots, launched the first industrial collaborative robot product UR20 for the next generation, officially proposing and promoting the concept of industrial collaborative robots, and Universal Robots revealed the idea of launching a new generation of industrial collaborative robot series, which quickly caused heated discussions in the industry. Since then, Universal Robots has set the tone for the development of industrial collaborative robots with small size, low weight, high load, large working range and high positioning accuracy. Read the full article

[zelinxia]

Now that mp100 s3 is confirmed, I can share a wild story from back at Crunchyroll Expo 2019. This is the same convention that hosted the U.S. premiere of the Season 2 OVA.‬ The three guests were Itou Setsou, voice of Mob; Tachikawa Yuzuru, the director; and Kameda Yoshimichi, the character designer.

On the last con day, September 1st, there was a panel where Kameda worked on a live illustration. In the meanwhile, the panel mod asked questions to both Tachikawa and Itou.

‪Tachikawa, at one point, asked fans which OP did they like more, season 1 or season 2? He then says in English “I wonder what season 3 opening would be like”‬

And the whole room gasped so loud.

Mod: Can you tell us more? 🎤 👀 ‬]

Funny enough, ‪the social media/PR person went up to the table to talk to Tachikawa. Perhaps she was telling him how he needs to keep things hushed/be mindful what he says LOL‬

And this is the same director who knowingly goes over budget on mob psycho anime, and gets stern lectures from Studio Bones’ president‬.

I’ve been wanting to share this hilarious moment for soooo long. I just had to wait for a season 3 confirmation so as to not raise any false hopes up.

[junji-info]

Pictures from Ito’s artwork gallery.

[ibblescribbles-archive]

CRX starts tomorrow!! Come stop by booth 333 and say hi!!

[zancorvid]

Hinoka & Camilla  - Fire Emblem Fates @ Crunchyroll Expo 2019 (Su 9/1) 

[kittygorian]

Nezuko-chaaan~!! Some new stickers I'm debuting at Crunchyroll Expo this weekend! Stop by my booth for some o(〃＾▽＾〃)o

[haiyun]

i’m at CRX booth 432 this weekend! come by if you’re in the area!!

[sophaeros]

let me go - crx (2024) // walking habits - machinegum (2019)

[arbitrarygreay]

Crunchyroll Expo 2019

This is mainly in response to the things I heard at the feedback panel. 1. I have so much sympathy for the staff who were the panelists. I also hope they don't give too much weight to the criticisms they heard there. The panel seems to self-select for the most obnoxious tone-deaf non-central attendees, given that the vast majority of attendees were enjoying themselves elsewhere, instead of bombarding the staff with their hare-brained suggestions. 2. From what I experienced, Crunchyroll Expo has a distinct identity as a large anime convention: succeeding strongly where Japan Expo USA failed, as a convention centered around professional guests, and even moreso around guests from Japan. I'd say all of the panels were associated with people working in the entertainment industry in some form. Thanks to the Crunchyroll origins, they had the connections to be credible to the Japan guests, the clout and name recognition to attract attendees early on, the capital to fund the production value, and very importantly, the local expertise to much better handle location logistics than JXUSA could. I quite like this distinct identity, and CRX shouldn't stray too far from that. It's not Fanime, PAX, or SacAnime, and it shouldn't try to be. There were lots of suggestions at the feedback panel for more community events, and I wouldn't want the con to go too far in that direction. Keep gaming centered on Japanese arcade stuff, with maybe some Japanese game E-sports, but don't go full LAN party with any games allowed. Add a tabletop room, but don't let just any American/US game be there, try to introduce attendees to specific Japan-associated games, like hanafuda, kabufuda, or karuta-based games, and the few translated Japan TTRPGs. The point is, CRX is a con where attendees are funneled towards learning new things about Japan's entertainment industry, through industry professionals, and to experience new anime. Don't let things non-central to that take up too much air. Again, the vast majority of people weren't attending that feedback panel exactly because they were enjoying all of the central content of the con, so the people complaining about the con not being about other stuff, trying to turn CRX into other cons, were atypical attendees. 3. On that note, I was very impressed by the breadth of industry aspects showcased. Previous cons tended to be actor-focused, both in guests and in which panels were popular with attendees. Thanks to work by sakuga enthusiasts, especially the folks behind Sakugabooru, lots of people are paying more attention to technical staff. CRX, too, did a great job making the case to prospective panel attendees why they should be excited to see these guests. The moderators would give the audience context, and the guests themselves would often be just as excited to see the clips of their own work, giving them inspiration for commentary to make, and the live drawings, of course, were just great. Major kudos to the moderators, in general. You could tell that they were all passionate about their guests, had thought really in-depth about the questions to ask, and they often had a nice chemistry with the guests, which helped bring out some less stiff answers than might be expected. (Translator quality varied as usual, but I know that the guests are usually bringing their own, and not something CRX can control. And there were certainly some stellar translators there, too.) But yeah, breadth. There were directors, producers, animators/storyboarders/character designers, mangaka, all sharing their special insights, and I was very pleased by how much music content there was, as someone who tends towards that part of the industry. The only aspect that was arguably underrepresented would be writers (script writing/series composition for shows, or LN authors). 4. I was also very impressed by the scheduling. Guests were almost all slotted for 2-3 events, and events overlapped so that if I missed a particular guest on one day, I could catch them at another event at least once on another day. As with the previous point, the way the breadth was overlapped was that even if I attended all of the music-related panels, I was still attending panels for all of the other aspects of the anime creation process throughout the day. Very excellent scheduling. The only panels that I missed (weeping for missing Junji Ito's kitties) were because I let my guard down after Friday, and didn't camp for some events that ended up full room. And even then, those few panels probably didn't need insane amounts of camping, either, just 15-30 mins. That's a heavenly amount of camping, when I'm used to having to block in 2 hours before anything I want to attend, at other cons. Thanks very much for the large capacities afforded to every panel. 5. Criticism: screenings, of all things, should not ever go off schedule. Panels, I can understand, because panellists might run late, but there's no reason for a screening to start late, unless there was technical difficulties. I had scheduled a particular screening which would end 15 minutes before the next panel I would attend. Instead, the screening started over 15 minutes late, and I missed a good chunk of the end because I had to leave for that other panel. Luckily this screening was for something already released in the US, so I'll be able to finish the movie, but there were a few unique premiere screenings at the con, and that room being off schedule could have soured other attendees' experiences a lot more than it did mine. 6. Minor criticism: The app wasn't accessible on my phone. I was able to get by with internet, as new schedule content was added on the website as well (and thank you for that!), but I wouldn't get updated time stamps as the app users did. Please don't assume that everyone has the newest OSes when writing the app in the future. My phone isn't even that old, only a couple of years. On that note, I wasn't thrilled with the format of the schedule. With the way everything overlapped in offset intervals, sometimes it wasn't obvious where events in different locations were in relation to each other, and I did miss some panel content once because I had misread the time, due to how the single-column scrolling obscured the amount of overlapping. The location filters do nothing to help with that. I understand that a traditional spreadsheet timetable (location columns, timestamp rows) isn't sexy aesthetics, and has very unsexy horizontal scrolling in a smartphone context, but that's actually where the oversized newspaper con guide could shine, or in a traditional booklet, a foldout insert. (Btw, I thought that the newpaper con guide was fine. It gives more space and bigger font size for reading accessibility, and was likely cheaper to print and assemble than a booklet, which needs glossy paper, more pages, stiffer folding, and required stapling.) 7. Very minor criticism that CRX may not be to control: as said before, I tended towards the music content of the con, but only Flow had their music on sale at the con. So there would be all of these artists promoting their work, and I'd be fired up about them after their panels...but there would be nowhere in the con for me to throw money at them. I understand that bringing stuff to sell is on the artists, but maybe coordinate some sort of "music guest merch" table somewhere, so that the logistics burden for selling products is lowered for all of them? Anime NYC did it for their Anisong Matsuri lineup last year, where there was a single merch table, manned by a few cashiers for all of the artists there, so that each artist didn't have to provide their own sales staff, and shipping costs of importing the stuff was also reduced because of consolidation. Even for artists who don't have physical CDs, they could do something like sell a code to redeem the purchase later. But yeah, overall, I had a great time at the con! I learned a lot, laughed a lot, danced a lot, and what more can you ask for?

[g4zdtechtv]

Cinematech's Trailer Park - Uzumaki

Spiral into the dark.

[luchiaketchum-art]

happy (late) birthday sensei ;w;

[thestrokesargentinafans]

Nick Valensi and Regina Spektor

[junji-info]

Some pictures from CRX of Ito’s panel, shop, artwork showcase, and merchandise signing from both Nemuki’s Twitter and fans.