“The Kiss” by Gustav Klimt Painted in Virtual Reality! | Art Attack Master Works
Giraffe in 3D VR
VR 360° Film: Evelyn’s Story | Oxfam
-Sessions are generally 25-30 mins and you will see 4 shorts.
-Screens Local & International VR Film Makers Works.
-Runs collaboratively with Maggie Wren’s Art Space.
-Group & Private Bookings welcome.
-Special Events where we come to your function are available.
-Talk to us about hire and vr productions & solutions.
Meet Pixvana Purpose built to streamline how you share and present your content in VR. Pixvana is a Seattle software startup building a video creation and delivery platform for the emerging mediums of virtual, augmented, and mixed reality (XR).
WHAT IS VIRTUAL PRODUCTION? Join us as we dive into what we learned from the first podcast episode of the new series from Unreal Engine. Ben Grossman calls today’s filmmaking the “real-time frontier,” this new age of film engineering where we’re no longer limited by reality or timelines. Sounds pretty trippy, right?
Storyboards are commonly used in film, web and game design as a quick, effective way to communicate spatial position, sequence, motion and interaction when you’re trying to pre-visualize a scene. They’ve also been used to frame a scene, but what do you do when there’s no frame? Consider drawing panoramic having the ends are in the back of the viewer or point of focus.
Alex Wallace, Verizon Media’s GM of news, entertainment, and studios summed up the impact 5G is going to have on the M&E industry—especially when it comes to increasingly personalized DOOH/AV (digital out of home/audio video) marketing applications—when he said, “No one knows where 5G is going to take us, but we want to be at the forefront of it,”
This blog was first published as a part of a newsletter from The Shindler Perspective, Inc. in January 2017 following CES. Mr. Case’s appearance on 60 Minutes on March 17, 2019 discussing his Rest of the Rest/Rise of the Rest initiative prompts its republishing as a blog.
Briefly, AOL and other early companies in the build out of the internet were the first wave; Google, Facebook and others represented the second wave. The third wave is all about extending the tentacles of the internet into all manner of existing businesses, the “rest,” from manufacturing and service providers to the creation and distribution of content across the world, effectively completing the connectio
During this week’s Microsoft Inspire conference in Las Vegas, the company demonstrated a new HoloLens technology developed in collaboration with Azure AI services that produces a full-size hologram of an individual speaking another language. A few days into Microsoft’s Inspire conference, the company presented a new HoloLens technology during a keynote that produced a perfectly replicated hologram version of the anglophone keynote speaker delivering the presentation in Japanese. The speaker and subject of the hologram was Microsoft Corporate VP Julia White, an executive working with the Azure AI team. Before the presentation, White was scanned at the company’s Mixed Reality Studio so that a hologram of her — outfit and all — could be replicated in front of the Inspire audience.
Musion 3D, Dejero and Hawthorn have joined forces to deliver a spectacular 5G live experience for Vodafone Romania. Dejero provided EnGo mobile transmitters and receivers to deliver video links from a studio in Bucharest, from which the hologram of a 10-year-old guitarist was beamed live to a stage over a Huawei router and Vodafone 5G link
As the demand for realistic volumetric video for AR experiences begins to grow (along with the available facilities and services for capturing it), researchers at Google have figured out how to improve upon the format.
Face Off The simulations are still clearly fake, but better versions are on the way. Deepfakes are manipulated and misleading videos that use deep learning technology to produce sophisticated doctored videos. Normally this involved splicing someone’s face onto an existing video, often making it seem like a celebrity or public figure did something that never happened.
Now the tools exist to do the same thing with someone’s entire body, like a digital puppeteer. That’s thanks to a new technique out of Heidelberg University that was recently published to Github and presented at September’s European Conference on Computer Vision — a step forward for deepfakes that has escaped mainstream scrutiny, but that could lead to the next generation of altered footage.
This interactive view of Shanghai made with 24.9 billion pixels of quantum technology allows you to zoom in and out for amazing levels of detail and overview.
Virtual Reality experiences based on movies and TV series are becoming common, and titles as those created by Los Angeles company Survios, take the experience to a whole new level.
The roadmaps are pretty clear, and the mass merchants are ready to push aggressively, even though folks are just slowly beginning to appreciate 4K … almost everywhere. But what’s around the corner, just over the hill? What will filmmaking look like in 5–10 years? At every film festival, there’s a corner of the lot roped off for the immersive future, VR (virtual reality). The mass entertainment market prophets keep telling us every year it’s going to be huge … in two years. Friends like Ted – a gaming industry expert – keep hollering, “It isn’t hot, sexy; won’t be and in fact it was stillborn.” Others, like Jon and Mark – who play endless hours of VR games (they’re testing the stuff), tell us it’s just getting better and better. Virtual pros don’t have much time to chat at film festivals; but at the IBC Future Zone, the cream of the crop will be able to focus on detailing what they have been doing to push the frontiers of creativity and technology to give us a dose of real reality.
Light Field Lab is making the stuff of sci-fi films a reality. As background, Light field images represent the mathematical model that defines the vectors of ray propagation. A light field capture system samples these rays of light to record a four dimensional representation of a given environment.
Evelyn and her community were facing an extreme water crisis, only getting access to clean water for about two hours every eight days, if at all. Follow Evelyn in her search for water and experience the incredible impact we can make together to the lives of people living in poverty.
THE VIRTUAL REALITY CINEMA 178 JOHNSTON STREET COLLINGWOOD, MELBOURNE 3066 AUSTRALIA
Is a creative project aimed at showcasing the new wave of virtual reality works. Pushing the boundries of the medium and assisting experienced content creators to create VR works. By having a VR cinema space to screen, network with other vr creators. Virtual Reality is upon us, its a new frontier, a new medium. For the newcomers, VR is an immersive experience in which your head movements are tracked in a three-dimensional world, seen in a 360° perspective, thanks to mobile VR headsets. This cinema brings Australia’s New Wave of VR Creators who are pushing these new boundaries.
Some food for thought:
- VR/AR opportunity
- capturing sound for VR and AR
- editing and compositing strategies for spherical video (360º VR video) algorithms
- designing spatial sound: adapting contemporary sound design practices for VR
Virtual sets traditionally allowed of the inclusion of the talent into a virtual scene.
One of the greatest projects I have had the opportunity to work on was TerraChi – A VR meditation experience. I worked collaboratively with a team as the lead concept artist. This project was mentored under the guidance of the UTS Animal Logic Academy. A lot of inspiration came from ancient Chinese temples, structures, and landscapes. My first task was to create initial sketches and concepts of what TerraChi could look like and be. And with help from colleagues, we set out to define the art style of the game.
Located in the heart of the entertainment industry in Los Angeles, Intel Studios features the world’s largest volumetric video stage and a comprehensive post-production and control facility powered by the latest technology. Intel has spent over a year building out the 25,000 square-foot studio with 10,000 square feet dedicated just for video capture in real time. To house all the data generated from shooting, there are 10 petabytes of local storage. With this process you can make 360-degree real-time video and choose exactly the perfect angle and picture frame you want to shoot.
The SIGGRAPH conference is a year event that focuses on the latest in computer graphics and other interactive arts. It is a multidiscipline show, mixing computer imaging with other physical creations. It is also a crossroads for the film, video game, commercial, research and education industries. It has a forward-looking vision while celebrating the recent and not-so-recent past.
AR/VR has become a two speed market, with mobile AR set to have over twice the number of users at launch in 2017 than the entire AR/VR headset market by 2021. Apple ARKit, Google ARCore, and Facebook’s Camera Effects Platformcould have 900 million users by the end of 2018, with their launch changing the trajectory of the whole market. Digi-Capital has fundamentally revised the AR/VR market thesis, analysis and forecasts in its Augmented/Virtual Reality Report, Augmented Reality Report and Virtual Reality Report.
When you think of horror games, it’s almost impossible not to think of Resident Evil’s legacy. Capcom’s seventh Resident Evil title delivers the fear that its name promises but this time, in Virtual Reality.
We talked to the Resident Evil 7: Biohazard (RE7) Development Team, Mr. Kawata (Producer), Mr. Fukui (Technical Director) and Mr. Tsuda (Art Director) about overcoming the various challenges in creating RE7, the transition to physically-based rendering, the development of their company game engine and bringing the franchise to VR.
As virtual reality continues to make waves across industry, it’s gaming which remains the most exciting and promising area for achieving mass consumer adoption. Big publishers are investing and new titles are pushing the boundaries and giving consumers good reason to buy both hardware and games.
Ahead of VRX Europe 2018, we’ve gathered senior-execs from some of the world’s most forward-thinking game studios, to get insights on how they’re approaching game development and building towards mass consumer adoption of VR.
The beginning of August saw the 44 year old SIGGRAPH conference ( S pecial I nterest G roup on Computer GRAPH ics and Interactive Techniques) return to Los Angeles for the 11th time, and this year the topic was almost exclusively VR. As this is ProVideo Coalition and not VirtualReality Coalition, I’ll be taking a more filmmaker-centric approach to this recap. That being said, the word of the week was “immersion”, and at this point I’m confident we’re on our way to The Matrix within the next 5 years.
- VR IS A FANTASTIC BEAST Framestore’s Andy Rowan-Robinson on building interaction and expanding narratives in virtual reality. The Evolution of VR Storytelling
- YOU GOT THIS: AN ANIMATOR-TURNED-VR CREATOR’S 5 TAKEAWAYS ON GIVING VIRTUAL REALITY A GO
MEET UP Sydney Augmented and Virtual Reality. We are Augmented Reality enthusiasts of all descriptions – technical, arts, sports, industrial, commercial, investors, entrepreneurs and simply any end user. There is a lot happening in this tech niche and in particular locally which beckons more co-ordinated face to face interactions and formal/informal meetup gatherings. Jump on board with us!
ALIVE: live-action lightfields for immersive VR experiences is an eighteen-month industrial partnership between Foundry and Figment Productions together with University of Surrey and funded by InnovateUK. The collaboration aims to develop the technologies required to capture live-action content as a fully immersive Virtual Reality experience, where the viewer has the freedom to move inside the content.
From dystopia to utopia: the new hyperreality Online shopping, led by Amazon, is hugely popular. But imagine being able to strap on a VR headset and ‘walk’ through those digital stores, getting all the best bits of visiting the shops without suffering the crowds of people or lugging around heavy bags. An obvious application for the medical industries is hyperreal training scenarios. Instead of operating on plastic models or cadavers, budding surgeons – or senior doctors updating their skills – could use VR or AR to retrace the steps of a recorded real-life surgery.
Our brains, which are themselves highly complex organic computers, collectively comprise this vast, great network. “Humanity.” Your body is essentially an organic bio-shell – a highly advanced haptic suit, designed specifically to allow it to fully experience the physical world in which it exists, through the five senses – sight, smell, touch, sound, taste – for the purpose of sending information to your brain from the time it develops in the womb, gathering, categorizing and storing data in a complex database deep within the brain where memory is stored.
What Google’s Blocks Could Mean for the Future of Virtual Reality Google introduced a new VR-based toolset called Blocks that will specifically allow developers to create and design 3D objects — for use with VR experiences — in their natural environment.
Spielberg warns VR will rule the future at Comic-Con Presenting his new film Ready Player One. Spielberg spoke about the challenges of adapting Ernest Cline’s book about a dystopian future where humans take refuge in VR after the world is destroyed by global warming.
Ana Serrano is the Chief Digital Officer at the Canadian Film Centre and Founder of CFC Media Lab, the world-renowned institute for interactive storytelling. We spoke with Ana who spoke at our 360 Vision event about her experiences with VR and what trends she’s noticed over the last year.
How can we create genuinely convincing virtual reality? Virtual reality (VR) is on the verge of mainstream adoption, while augmented reality (AR) experiences have already begun to enter the public consciousness. What began as a niche is finally accelerating in its journey towards popular use.
Mimicking the human eye
The experience is also impacted by the current field of view (FOV) offered by first- and second-generation headsets. Our binocular vision makes the human FOV around 200° horizontally, but most headsets give a measly 110° – just over half of what we see in reality.
On the road to something special
We have a way to go before we reach true immersion in VR and AR content, with major developments in both software and hardware still to be made. The push towards non-linear, adaptive experiences is an exciting one, but it will all be undone if a slight movement of the head means the illusion is broken – or indeed if we all end up feeling sick halfway through.
Digi-Capital AR/VR Dealmakers invested over $800 million dollars in Q2 2017, after a quieter first quarter.
The now familiar pattern for AR/VR investment saw the highest volume of investments from pre-seed through Series A, with chunky later stage deals accounting for most of the dollar value in the quarter (Improbable over $500 million, Unity $400 million – reported as half investment and half secondary share sale by employees).
Recently, we partnered with Children’s Hospital Los Angeles (CHLA) to build a VR simulation that places medical students and staff in rare yet high-risk pediatric trauma situations where split-second decisions determine whether a patient lives or dies.
SAN FRANCISCO — Dawn Jewell recently treated a patient haunted by a car crash. The patient had developed acute anxiety over the cross streets where the crash occurred, unable to drive a route that carried so many painful memories.
After the success of the medium in 2017, next year will be a big one for virtual reality (VR) According to a new report released by Chaos Group, it’s not just videogames that will see a significant drive. Architectural firms are also jumping on board, with a significant push for VR visualisation.
Briege Whitehead of White Spark Pictures is packing her bags, soon off to lead a team to Antarctica, producing and co-directing a world-first one-off factual virtual reality (VR) project THE ANTARCTIC EXPERIENCE, filmed in the isolated continent.
How will we know when VR has truly ‘made it’? By most measures, this will be when the technology has cracked the mass consumer market: when it can be found in homes and public spaces across the world. As we’ve explored before however, we’re a long way off from that point. To get there, we’ll need to see a marked jump in the level of immersion a user can experience in VR.
A blend of AR and VR that theoretically provides the best of both worlds — for the better part of a decade, and with over a billion dollars in funding, the pressure is on to show some results sooner rather than later. To that end, the company finally revealed its first actual product today, the Magic Leap One, and it looks insane.
With graphics quality at an all-time high and with the official arrival of VR, the horror genre has never been more terrifying. But any good horror creator knows that the key to making a frightening experience is in the execution. We talked to a few horror developers to get some insight on creating the ultimate, terrifying VR game.
We’re all aware of how rapidly virtual reality is gaining ground, but just how difficult is the VR production process?
FIRE PANDA LTD is a Virtual Reality development studio creating exciting and innovative VR Content, Experiences and Games. We are proud to work with some of the most talented people exploring everything VR can offer.
VR will definitely continue to grow, as long as international markets exist and clients are open to it. Currently at FKD, it’s just another addition to our workflow and another way to add strength to the collective idea.
Virtual reality took center stage in Steven Spielberg’s Ready Player Oneblockbuster film when it was released March 29th. But we are also learning how immersive technology played a role during the actual production of the movie too. In a new video shared by HTC Vive, VR is helping push the boundaries of film production by changing the way director Steven Spielberg scouted virtual sets, framed shots in real time, and let the cast step inside a virtual scene.
“VR journalism should focus on storyliving, not storytelling” and other insights from Google’s new VR study
Tech companies working with augmented reality and virtual reality technologies raised more than $3 billion in venture funding in 2017. This data comes from analytics firm Digi-Capital and suggests that while the buzz surrounding the AR/VR space has tapered off, the sheer amount of cash getting pumped into the industry is continuing to surge.
In the early 1990s, many people gawked at ugly and bulky mobile phones, unable to see just how much they’d change the face of communication. In this piece, Kaga Bryan argues we’re at the same point now with virtual reality, and he’s having a bit of déjà vu.
THE FUTURE ACCORDING TO CES: if you didn’t go to CES, here’s what you need to know: in the future, we will all be 3D-printing our autonomous drones to fly our cosseted pets around our connected homes so that they can bark at security risks that threaten our children, which we can then observe in real-time 360° video from our augmented eyewear because we’ll actually be out with our beautiful partners keeping fit in neon Lycra.
Majority of VR users say it will revitalise media, education, work, social interaction, travel and retail.
Seven out of 10 early adopters of virtual and/or augmented reality hardware have bought into the buzz and firmly feel that the technology is set to disrupt media, education, work, social interaction, travel and retail.
A documentary about a clinic in Los Angeles that uses virtual reality simulations to treat war veterans with PTSD. Hosted by a former master sniper for the Canadian military, this documentary short explores the efficacy of these systems to treat a still-mysterious mental condition.
VR’s first scripted series sheds new light on medium’s unknowns by April Robinson
The Molecule, says CEO Chris Healer, is very good at solving unique challenges. So when 30 Ninjas came calling with a scripted VR series to be directed by its principal, Doug Liman (The Bourne Identity, Edge of Tomorrow) and shot by Jaunt VR, Chris and his team were all in. In his words, “It made so much sense.”
Based on a screenplay by Julina Tatlock and Oscar-winning screenwriter Melisa Wallack, the mystery series centers on an heiress’ quest to guard her recently deceased grandfather’s estate and the family’s supernatural secrets. The story, told over five, roughly six-minute episodes, marks the first attempt at using virtual reality as an episodic-friendly, storytelling format while challenging many of VR’s current known truths.
Check out our six new videos with screen producers and VR pioneers sharing their thoughts on where VR is heading, what the future could look like and what could make the next great VR project, now available for your inspiration. The videos come from our 2016 virtual reality event, 360 Vision, which was presented by Screen NSW, ABC, Screen Australia, Event Cinemas and AFTRS. The videos capture the conversation from the day and include talks by Collisions creator and 360 Vision Mentor Lynette Wallworth, Rose Troche: internationally renowned director, producer and screenwriter, Ana Serrano, Gabo Arora and Barry Pousman to name a few.
The Making of a Virtual Film for Architecture and Real Estate
Deep Video Portraits – SIGGRAPH 2018 A break down of how deep video portraits work from SIGGRAPH 2018.
Virtual reality films are fun to watch, but there’s a ton of work that goes into creating them. We sat down with Here Be Dragons to understand the effort behind their films. Watch the behind the scenes video here.
BLENDERSUSHI / AN 360 VR Gallery (LIVENODING227)
lmmersive media is a powerful storytelling medium. Imagine your favorite restaurant’s menu coming to life as every dish pops onto the table for your consideration. Imagine experiencing the interior design of your home before making a single purchase. Or watching a movie and having the actors appear right in your living room. Imagine the sensation of experiencing the history of any place, fully immersed in a distant time.
Premiere Pro offers support for viewing VR video in the Monitor panels.
It also detects if the clip or sequence has VR properties and automatically configures the VR viewer accordingly. You can publish VR video directly to the web from Premiere Pro to sites such as YouTube or Facebook.
Bloomberg reported today that Apple is working on an augmented reality headset that it hopes to bring to market in 2020. The headset would feature its own display rather than relying on an iPhone, and it would run a new spin-off from iOS in the vein of watchOS or tvOS, currently called rOS internally, for “reality operating system.”
Daryl continues to add visual complexity to the environment in his VR creation. He shares a workflow using Arnold to get image-based lighting onto tenure maps so they can be layered on top of the reality captured environment. Follow along on the Journey to VR blog as Daryl builds his first VR experience.
- 3D to VR: The Essentials. We’re kicking off our journey from 3ds Max to VR, and we want you to come along. Join us for a daily video tutorial as we walk you through the fluid workflow of 3ds Max’s powerful 3D animation tools combined with a new interactive toolset. 3ds Max 2018.1 features 3ds Max Interactive, a real-time engine that extends the power of Max with tools to create interactive and virtual reality (VR) experiences.
- Reforming the Workflow Resident Evil 7: Biohazard in Virtual Reality. We talked to the Resident Evil 7: Biohazard (RE7) Development Team, Mr. Kawata (Producer), Mr. Fukui (Technical Director) and Mr. Tsuda (Art Director) about overcoming the various challenges in creating RE7, the transition to physically-based rendering, the development of their company game engine and bringing the franchise to VR.
Virtual Production to VR with CBS Digital Craig Weiss and Jim Berndt of CBS Digital talk about creating the Stranger Things VR experience, and the convergence of virtual production and VR.
Keynote: Augmented Reality to Virtual Reality – from patient care to surgical simulation
VR, AR, and the cloud were definitively top-of-mind for design visualizations artists and architects at this year’s event. Want to watch a missed class?
MEL Chemistry VR
The Now and Future of Virtual Reality for Design Visualization
VFX Workflows for Architectural Visualization
Procedural PBR Material Creation Using Substance Designer for Visualization
Positioning and Marketing a Skyscraper – 432 Park Avenue
Render Like a Photographer
Blackmagic eGPU Optimises Performance for Resolve, Games and VR Blackmagic Design’s new eGPU is a high performance graphics processor optimised for professional video and graphics, such as those used in DaVinci Resolve software, 3D gaming and VR packages. The eGPU was designed in collaboration with Apple to improve graphics performance and accelerate computational tasks. It has a built-in AMD Radeon Pro 580 graphics card, two Thunderbolt 3 ports, HDMI 2.0 and 4K output, 85W of charging power and four USB 3.1 connections.
- Our new initiative to help you embrace VR
- Virtual worlds and adaptive light-fields: an interview with Disney Research
- Virtual reality as a social experience
- A deep dive into Virtual Production workflows
- Can you afford to miss the virtual train?
- What they don’t tell you about 360° VR production
- Galvanized Souls get the 360° treatment
- VR? AR? MR? Sorry, I’m confused.
- Human anatomy and limited technology: the barriers to truly immersive VR. Virtual reality is on the verge of mainstream adoption, but we’re a long way off experiences realistic enough to be indistinguishable from real life. So how can we create genuinely convincing, immersive VR?
- How design visualisation and VR will transform the AEC industries
- Hyperreality: the new trend you need to be ready for
- Modo VR: fully immersive design content creation
- Augmenting reality in the AEC industries
- A hyperreal history: the evolution of hyperreality
- FAME: film-quality augmented and mixed reality experiences
- VR’s Eastern Promise: the growth of virtual reality in the Far East
- From Russia with agility: The studio pioneering a new way of working
- More real than real: creating a feeling of ‘presence’ in VR
- VR: It’s time for a reality check
- Exploring VR’s accessibility problem
- Architect 2.0: How technology is driving the industry
- Meet the creators: content creation in the virtual age
- Kanova: flexible VR sculpting
- The Big Interview: Ben Grossmann, co-founder and CEO of Magnopus
- Foundry Trends’ VR Jargon Buster
- Virtual reality: what drives multiple hype waves?
- Making the impossible possible with virtual production at Imaginarium Studios
- Reaching true VR immersion: one blink at a time
- Exploring infinite walking in virtual reality
- Is enterprise the key to unlocking VR’s potential?
- Mixed reality: the future of AR devices?
- Walking in the footsteps of war survivors with virtual reality
- Peeling back the layers of the virtual production onion
- Meet the company transforming real-time content creation
- The three crucial VR headset developments you don’t want to miss
- This is why eye-tracking in VR is about more than foveated rendering
- Explaining deep learning: what it is, and what it’s not
- Mixed reality: the gateway to the mirrorworld
- The unexpected way VR could end up in your home
- Why the founders of London’s first VR arcade have bet on VR going places
- Five of the biggest trends from FMX 2019
- Deep inside DNA VR – London’s first VR arcade
- How mixed reality is sending us across the solar system
- How the AR Cloud will transform immersive technology
- What the dawn of the 5G era means for immersive technologies
- Bridging the uncanny valley: what it really takes to make a deepfake
- Be transported into new virtual worlds with AR portals
- Adaptively sampled distance fields (ADF)
- Degrees of freedom (DOF)
- Field of view (FOV)
- Field of view adaptive streaming (FOVAS)
- Focal Surface Displays
- Foveated rendering
- Full immersion virtual reality (FIVR)
- Social VR
- Volumetric capture
CARA VR™—the much-anticipated new plug-in toolset for the NUKE® family of compositing, editorial and finishing products—helps you to create incredible live-action virtual reality content.
With a specialised toolset that includes headset review, CARA VR dramatically speeds up the challenging and often tedious process of stitching and compositing 360° video footage, so you have more time to focus on creating high-quality immersive experiences.
ADF technology is a way of representing a shape in 2D or 3D that can significantly improve and speed up the ability to manipulate that shape. Giving you much more efficiency and power – you can zoom in and to levels of data or scale not previously possible, because the operations carried out on ADFs are computationally much more efficient. You’re sculpting using the algebra built over the ADF, rather than pushing millions of polygons around. The power to zoom in and create intricate details, or zoom out and work at huge scales, means artists can go way beyond knocking together basic designs for experimentation or fun. They could feasibly complete very intricate or very large-scale work to a professional standard, fast.
Could you introduce yourself? I’m Matt Swoboda, the founder and director of Notch, a visual creation tool that works entirely in real-time. Notch technology powers visuals for acts from U2 to Beyoncé and Ed Sheeran, Eurovision, The Brits and numerous music festivals worldwide. Notch is a solution for artists and producers working in live events, interactive installations, mixed reality production, virtual reality, and motion graphics. Real-time isn’t just about pumping out frames faster, it changes the creative process completely. If a creative can see the full and final result of a render in real-time it changes the way they think when creating content. The iteration cycle moves to zero.
For years now, people have been interacting in virtual reality via avatars, computer-generated characters that represent us. Because VR headsets and hand controllers are trackable, our real-life head and hand movements carry into those virtual conversations, the unconscious mannerisms adding crucial texture. Yet even as our virtual interactions have become more naturalistic, technical constraints have forced them to remain visually simple. Social VR apps like Rec Room and Altspace abstract us into caricatures, with expressions that rarely (if ever) map to what we’re really doing with our faces. Facebook’s Spaces is able to generate a reasonable cartoon approximation of you from your social media photos but depends on buttons and thumb-sticks to trigger certain expressions. Even a more technically demanding platform like High Fidelity, which allows you to import a scanned 3D model of yourself, is a long way from being able to make an avatar feel like you.
Until very recently, directly mapping an actor’s performance onto photorealistic digital humans using real-time rendering was considered impossible. We’d seen the likes of Avatar and Alita in the movies. Still, these involved time-consuming offline rendering and post-processing work.
But thanks to the advancements in graphics hardware and software, as well as the relentless hard work from innovative teams in the field, we’re seeing real-time rendered digital humans.
Meet Vincent, a digital human born from Korea-based creative studio, Giantstep. You can meet the creators at Pause Fest 2020.
SIGGRAPH 2019 to Tackle Facial Animation, AI, Ethics in Games, Showcase Future of Real-time Production in L.A.
Speaker: Mike Seymour, fxGuide
Mike Seymour talk about the presentation he gave @ SIGGRAPH 2017 in Los Angeles earlier this year. MEETMIKE showcases the latest research in digital human technology, with leading industry figures interviewed live and in real-time by a photo-realistic avatar in a ‘virtual set in Sydney’, presented at the VR Village at SIGGRAPH 2017 in Los Angeles.
Speaker: Mike Seymour, fxGuide. #MEETMIKE
Producing a digital human in CG has been the ‘Manhattan’ project of computer graphics, it is both extremely difficult and has wide ranging implications both commercially and ethically. Digital Actors, Agents and Avatars are all very hot topics, but what few in the industry anticipated is how rapidly this would move from the issue of rendering a high quality human, to being able to do so in real time. Come and see MEETMIKE at ACM Siggraph ANZgraph were Mike Seymour will explain the project first shown that SIGGRAPH 2017 in LA that aimed to not only produce a realistic human but to do so at 90 frames a second in stereo in VR. Beyond realtime at even 30 fps (30 milliseconds), this International team has to render each frame in just 9 Miliseconds. To produce such fast results, the team deployed Deep Learning AI for a markerless facial tracker and solver, and used a custom build of Epic Games UE4.
In this worldwide first, each day of the SIGGRAPH show digital Mike met digital versions of industry legends and leading researchers from around the world. People such as Dr Paul Debevec, Tim Sweeney, Oscar Winners Ben Grossman (Magnopus) and Wayne Stables (Weta) and leading researchers from places such as PIXAR’s Christophe Hery, Glenn Derry (Fox).
Together they met and conducted interviews in “Sydney” via virtual reality which was watched either in VR or on a giant screen.
This project is a key part of a new research project into virtual humans as Actors, Agents and Avatars. The ANZGraph session will provide valuable data and insights for taking digital humans research to the next level, and share lessons learnt from the collaboration of R&D teams from around the world. MEET MIKE researchers span four continents, three universities and six companies including Epic Games, 3Lateral, Cubic Motion, Loom.ai and the Wikihuman global research project. The project aimed to explore best of class scanning, rigging and real-time rendering. Please note that this project aims to give away nearly all the data for non-commercial use and is a non-profit research effort.
Digital humans are a new form of computer human interface, the computer has a face that reacts emotionally, exhibiting matching and using affective computing or artificial emotional intelligence.
People like faces, emotion that is face to face, facial contact, live, immediacy, interactivity. We think of people, our identity as faces. The face is giving us the emotional context of what is going on, we care about it a lot.
Give the computer spaces and emotions, start having a thing we can interact with and to do this we need some AI and Deep Learning. Think about things that are interactive. Want to do a realistic person.
Mick also spoke about Matching and Mirroring – Remember that people tend to like people who are like themselves. You will tend to like people who are like you, I will tend to like people who are like me. The most important key to gaining instant rapport with another individual therefore is to make ourselves like them. One way that we can do this is to match and mirror their words (7%), tonality(38%) and physiology (55%).
Affective computing is the study and development of systems and devices that can recognize, interpret, process, and simulate human affects. It is an interdisciplinary field spanning computer science, psychology, and cognitive science. While the origins of the field may be traced as far back as to early philosophical inquiries into emotion, the more modern branch of computer science originated with Rosalind Picard‘s 1995 paper on affective computing. A motivation for the research is the ability to simulate empathy. The machine should interpret the emotional state of humans and adapt its behavior to them, giving an appropriate response to those emotions.
Uncanny valley is a hypothesized relationship between the degree of an object’s resemblance to a human being and the emotional response to such an object. The concept of the uncanny valley suggests that humanoid objects which appear almost, but not exactly, like real human beings elicit uncanny, or strangely familiar, feelings of eeriness and revulsion in observers. Valley denotes a dip in the human observer’s affinity for the replica, a relation that otherwise increases with the replica’s human likeness.
Uncanny valley – if you do not get it right, you can tell it is fake and in a film that matters.
Deep learning (also known as deep structured learning or hierarchical learning) is part of a broader family of machine learning methods based on learning data representations, as opposed to task-specific algorithms. Learning can be supervised, partially supervised or unsupervised. Some representations are loosely based on interpretation of information processing and communication patterns in a biological nervous system, such as neural coding that attempts to define a relationship between various stimuli and associated neuronal responses in the brain. Research attempts to create efficient systems to learn these representations from large-scale, unlabeled data sets. Deep learning architectures such as deep neural networks, deep belief networks and recurrent neural networks have been applied to fields including computer vision, speech recognition, natural language processing, audio recognition, social network filtering, machine translation and bioinformaticswhere they produced results comparable to and in some cases superior to human experts.
Synthetic data is “any production data applicable to a given situation that are not obtained by direct measurement” according to the McGraw-Hill Dictionary of Scientific and Technical Terms; where Craig S. Mullins, an expert in data management, defines production data as “information that is persistently stored and used by professionals to conduct business processes.” The creation of synthetic data is an involved process of data anonymization; that is to say that synthetic data is a subset of anonymized data. Synthetic data is used in a variety of fields as a filter for information that would otherwise compromise the confidentiality of particular aspects of the data. Many times the particular aspects come about in the form of human information (i.e. name, home address, IP address, telephone number, social security number, credit card number, etc.).
The Wikihuman project is a collaborative by the members of the Digital Human League to advance the study of digital humans. For more information on the Wikihuman project, please visit their blog at wikihuman.org
Chaos Group – We would like to officially announce the wikihuman.org site. This is the start of an ongoing project by the Digital Human League (DHL). Our mission for this project is to study, understand, and most importantly share our knowledge of digital humans.
alSurface Shader Wikihuman project By Mike Seymour The “al” in alSurface refers to Anders Langlands (right), a VFX sequence supervisor currently at Weta Digital, who wrote a series of shaders for Arnold.
Surface roughness often shortened to roughness, is a component of surface texture. It is quantified by the deviations in the direction of the normal vector of a real surface from its ideal form. If these deviations are large, the surface is rough; if they are small, the surface is smooth. In surface metrology, roughness is typically considered to be the high-frequency, short-wavelength component of a measured surface. However, in practice it is often necessary to know both the amplitude and frequency to ensure that a surface is fit for a purpose.
Woody between 1995 and 2017.
BabyX v3.0 Interactive Simulation Official
IBM Watson presents Soul Machines, LENDIT Conference 2017 (Professional Camera)
Some interesting information:
Emotions, immediacy, we care about faces, smiling and the effects on a digital person.
Creating an optical flow for the merge between the two expressions with no texture loss, blend shapes on his face and needing something to drive it. Fluid simulation using training data, learnt from an example, we can make the data. Using synthetic and training data for more powerful interactions creating a nighter affinity, it is more trustworthy. Get the points between the smile and the frown and the computer can reconstruct the points between them.
Look at the pores of the skin, the Diffuse, Specular and Normal Map and line up the textures for a smile and not a smile. Higher resolution specular maps for the face to be real. Change the pings off it to read the surface texture.
VR, no 30fps, 90fps stereo vertically because of our noses. UV lighting. 75% of the geometry went on the hair.
At YesVR We Design Safe Learning Through Virtual Reality. People working in hospitality have told us passing the written Responsible Service of Alcohol (RSA) exam is not enough to get you job ready.
YesVR has been formed by partnering award winning Learning and Technology experts to create interactive virtual reality (VR) modules. Being immersed in VR provides experiential learning in a safe, non-threatening and realistic way individuals are better prepared for workplace situations. They practice applying their RSA knowledge and are provided with immediate feedback to reflect upon their decisions.
Interacting in these scenarios provide opportunities to learn things that only real-life experience can teach them… until today.
Staples VR is a complete VR production studio providing both end to end solutions and consultation services for a variety of clients and industry leaders. We operate with the newest and highest quality equipment for image capture and 360 degree VR capture such as the Jaunt, Nokia OZO, Red, Arri, Blackmagic, Z-Cam, Sony, Panasonic and custom built solutions such our world fire fire proof VR capture system, and our underwater and aerial solutions. We specialise in dynamic camera movement, from aerial drone, cable cam and crane to dolly and underwater, enabling us to add that something special to your production. We pride ourselves on our ambisonic audio capture and offer full spatial post production mixing and sound design.
Jaunt ONE is a professional-grade camera system specifically designed for capturing high-quality stereoscopic 360º cinematic virtual reality experiences. Built from the ground up with visionary VR creators in mind, Jaunt ONE has proven itself in the hands of the world’s top filmmakers, studios, and networks.
Jaunt ONE offers industry-leading stereoscopic capture quality and a suite of tools for camera control and data management. It features 24 camera modules with frame-sync, global shutter, 10-stops of dynamic range, and custom 130º FOV lenses with a fixed f/2.9 aperture. Additional features include support for 120 frames per second capture and a live viewfinder. Jaunt ONE and its complementary workflow present content creators with an end-to-end solution for filming high quality cinematic virtual reality content.
Introducing Jaunt ONE – Cinematic VR Camera – Jaunt One Demo Sydney by Staples VR
The Jaunt One is a professional grade, stereographic cinematic VR build from the ground up and designed with visionary VR creators in mind. Staples VR will put the camera through its paces and explain the good the bad and the amazing when it comes to the system. Client support to visualise, post production, time line cost, testing, consulting, access to equipment. and do well in collaboration.
Staples VR lead the way when it comes to live action 360 video and your content creation. What can you do with the technology? They have worked with clients to make high end quality VR including live action capture, gameified interactivity, photogrammetry, lidar scaning, installations, training, equipment resource, live streaming VR that can be mix in with prerecorded material and swapping between different camera systems. They have build a huge range of skills and techniques to get the most of your capture systems and post workflow for the entertainment, medical, architectural, OH & S, forensic training, military training, building installations, airlines, factories, education and telecommunication industries to name a few and are on the fore front of this rapidly expanding industry.
New Zealand Fire Service today launched a world-first initiative – a 360 degree and virtual reality (VR) experience – Escape My House available online now. For the first time ever, the public can experience a real house fire first-hand and, along the way, learn why they need an escape plan.
LYTRO CIMEMA Imagine working on footage in visual effects and having the ability to change the depth of field or focal point of a scene on the fly. Change the frame rate and have physically accurate shutter angle that would have been appropriate for the rate. Reposition the camera in the scene. Drop 3D objects in your scene and have them properly occluded by the live action content. Pull mattes by setting a near depth and a far depth and extracting an object. Effectively, think of having many of the benefits of deep compositing for live action scenes.
Proof of Concept (PoC) is a realization of a certain method or idea in order to demonstrate its feasibility or a demonstration in principle with the aim of verifying that some concept or theory has practical potential. A proof of concept is usually small and may or may not be complete.
Photogrammetry is the science of making measurements from photographs. The input to photogrammetry is photographs, and the output is typically a map, a drawing, a measurement, or a 3D model of some real-world object or scene. Many of the maps we use today are created with photogrammetry and photographs taken from aircraft.
There are different camera systems with camera modules are getting smaller, some examples along the way are:
- optic cluster based systems where VR started, the GoPro rigs, mini bundle.
- cluster based, panoptic camera systems – multicamera face tracking system suitable for large wired camera networks
- mirror rigs with parabolic mirrors, larger cameras improving quality, expensive and difficult to use
- light field systems such as Lytro recording refractions and reflections of the entire area of space. Light field camera, also known as plenoptic camera, captures information about the light field emanating from a scene; that is, the intensity of light in a scene, and also the direction that the light rays are traveling in space. This contrasts with a conventional camera, which records only light intensity. Lytro is building the world’s most powerful Light Field imaging platform enabling artists, scientists and innovators to pursue their goals with an unprecedented level of freedom and control. This revolutionary technology will unlock new opportunities for photography, cinematography, mixed reality, scientific and industrial applications.
- volumetric capturing an area, volumetric video with large storage and at the moment no suitable way of playing it back.
JauntONE camera has 24 independent camera systems, resolution 8K, minimum 4K in a stereoscopic field of view. It uses every second camera module to give a slightly parallax view for the left and right eye giving a sense of depth and only playable back through head sets. Can shoot different frame rates up to 120 for slow motion which can only do 4K output. Can preview the camera system, change the ISO values, 12 volts, workflow with changing batteries and cameras. The parallax information becomes your depth map in the full 360 arc to incorporate in vfx elements.
Can get artefacts in the stitch line when something is close or further away from the camera, looking for the ability to stitch together with only one stitch line or as few as possible. Optical flow form of stitching, analyses every pixel of the frame and comparing to the frame before and after to track the movement to know what is moving and what is staying static. Not a perfect system, issues such as the algorithms not being able to recognise pixels from one camera to the next when things getting to close to the lenses within the minimum parallax distance, when two lenses cannot see the same material. The other one is motion blur, going to quickly through the frame. It is harder when the camera cannot see the image in its entirety is harder to get the stitch points. Shooting a higher frame rate, will give clearer pictures even if playing back at 30.
Needs to be level, stereoscopic around the middle and tapers off top and bottom. Assume the audience is on the same eyeline as the camera, if the audience choose to look at the skyline then you cannot control the angle the are looking at that object and will not be able to play back correctly. Create depth through the left and right eye and our brain focuses somewhere in the middle.
Some issues when considering which camera to use: safe distance from the camera 2.5 meters, not too fast moving images, camera moving to minimise and avoid haloing, artifacting, morphing, repeating textures, semi-transparent, moiré effect (are large scale interference patterns that can be produced when an opaque ruled pattern with transparent gaps is overlaid on another similar pattern. For the moiré interference pattern to appear, the two patterns must not be completely identical in that they must be displaced, rotated, etc., or have different but similar pitch.) Use 8 modules out of the camera, does not like single orbit.
It pulls up every camera module to see the placement, exposure and correct accordingly. The camera has up to 10 and 1/2 stops, the system can go up to 18 stops of dynamic range in a gradient across the system. Situations such as the camera placed between a window and action, you can expose correctly for skin tone and then for the window, outside exposure and the cameras in-between will incrementally so it works together accurately and doing multiple exposures.
AUDIO FOR VR
George the dummy head microphone, two microphones and does not do top, bottom, front and back very well and does not change the perspective. Humans have two ears, notes the difference in levels between the ears, the difference in time that it takes for the sound to travel to the ears and position the sound based on those things. Giving the recording that sounds real, suitable for atmos, two track stereo. The head has been used in radio for many years and during an Opera on the steps of the Sydney Opera House, George was used for the orchestra inside in the concert hall.
The dummy head recording is a method of recording used to generate binaural recordings. The tracks are then listened to through headphones allowing for the listener to hear from the dummy’s perspective. The dummy head is designed to record multiple sounds at the same time enabling it to be exceptional at recording music as well as in other industries where multiple sound sources are involved.
The dummy head is designed to replicate average sized human head and depending on the manufacturer may have a nose and mouth too. Each dummy head is equipped with pinnae and ear canals in which small microphones are placed, one in each ear. The leading manufacturers in Dummy Head design are: Neumann, Brüel & Kjær, Head Acoustics GmBH, and Knowles Electronics.
Binaural recording is a method of recording sound that uses two microphones, arranged with the intent to create a 3-D stereo sound sensation for the listener of actually being in the room with the performers or instruments. This effect is often created using a technique known as “dummy head recording”, wherein a mannequin head is outfitted with a microphone in each ear. Binaural recording is intended for replay using headphones and will not translate properly over stereo speakers. This idea of a three dimensional or “internal” form of sound has also translated into useful advancement of technology in many things such as stethoscopes creating “in-head” acoustics and IMAX movies being able to create a three dimensional acoustic experience.
The term “binaural” has frequently been confused as a synonym for the word “stereo”, and this is partially due to a large amount of misuse in the mid-1950s by the recording industry, as a marketing buzzword. Conventional stereo recordings do not factor in natural ear spacing or “head shadow” of the head and ears, since these things happen naturally as a person listens, generating their own ITDs (interaural time differences) and ILDs (interaural level differences). Because loudspeaker-crosstalk of conventional stereo interferes with binaural reproduction, either headphones are required, or crosstalk cancellation of signals intended for loudspeakers such as Ambiophonics is required. For listening using conventional speaker-stereo, or mp3 players, a pinna-less dummy head may be preferable for quasi-binaural recording, such as the sphere microphone or Ambiophone. As a general rule, for true binaural results, an audio recording and reproduction system chain, from microphone to listener’s brain, should contain one and only one set of pinnae (preferably the listener’s own) and one head-shadow.
SENNHEISER The elegantly designed AMBEO® VR Mic has been developed in cooperation with VR content producers and fine-tuned through an extensive creators’ program with participants from across the audio and VR communities. The mic caters exactly to the needs of VR content creators, letting you capture the experience and spirit of any location enabling the listener to be immersed as if they were there.
Four mono channels, matrix into one mono in the middle, up down stereo and a left right stereo and front stereo. When you move around the sound stays with the visual experience, losing the illusion.
AMBEO A-B format converter plugin. The capsules of the Sennheiser AMBEO VR Mic deliver A-format, a raw 4-channel output that has to be converted into a new set of 4 channels, the Ambisonics B-format. This is done by the specifically designed Sennheiser AMBEO A-B format converter plugin, which is available as free download for VST, AU and AAX format for your preferred Digital Audio Workstation for both PC and Mac. B-format is a W, X, Y, Z representation of the sound field around the microphone. W being the sum of all 4 capsules, whereas X, Y and Z are three virtual bi-directional microphone patterns representing front/back, left/right and up/down. Thus, any direction from the microphone can be auditioned by the listener during playback of Ambisonics B.
Mixed reality: the gateway to the mirrorworld
If you believe the futurists, we will one day spend huge amounts of our time in a vast mirrorworld that is effectively a 1:1 digital map of the entire earth.
This supermassive augmented reality landscape will eventually merge with the physical world around us: an amalgamation of the real and the virtual, that we will interact with, manipulate, and have experiences in, just like the real world today.
That might sound like science fiction, but the seeds of this strange, exciting future are already germinating in the alternate reality technologies we’re developing right now – and specifically in the field of mixed reality (MR).
Technology has so dramatically changed film/show/video content development, production and distribution we’ll probably again be overwhelmed by the parallel, intertwined plots and special effects.
Still don’t believe AI could understand how to deliver the intricacy, intimacy and complexity of something like Matrix.
That requires the human touch.
Of course, that won’t stop folks at this year’s IBC Future Zone telling us how their AI tools will improve – revolutionize – the M&E industry…even if they don’t know what it is or even use the technology.
The truth is…AI in the M&E industry sucks!
Techies love it – artificial – meaning you can simply sit back, drink mojitos and the money rolls in.
However, we believe IBM’s Ginni Rometty’s has a better grasp of AI – augmented – it enhances what we do.
AI/machine learning won’t replace creatives because machines don’t know zip about emotion. It’s not willing/able to base a decision on a “fire in the gut feeling.”
Augmented reality (AR) is a direct or indirect live view of a physical, real-world environment whose elements are “augmented” by computer-generated perceptual information, ideally across multiple sensory modalities, including visual, auditory, haptic, somatosensory, and olfactory. The overlaid sensory information can be constructive (i.e. additive to the natural environment) or destructive (i.e. masking of the natural environment) and is spatially registered with the physical world such that it is perceived as an immersive aspect of the real environment. In this way, Augmented reality alters one’s current perception of a real world environment, whereas virtual reality replaces the real world environment with a simulated one.
The primary value of augmented reality is that it brings components of the digital world into a person’s perception of the real world, and does so not as a simple display of data, but through the integration of immersive sensations that are perceived as natural parts of an environment.
Overlaying a digital canvas onto a person’s view of the real world, to enhance the design visualisation process, has vast potential.
AR Experiments is a site that features work by coders who are experimenting with augmented reality in exciting ways. These experiments use various tools like ARCore, an SDK that lets Android developers create awesome AR experiences. We’re featuring some of our favorite projects here to help inspire more coders to imagine what could be made with AR.
What’s the Difference Between HoloLens, Meta 2 & Magic Leap? Augmented reality is beginning to leak out into the mainstream world. This is thanks, in part, to ARKit and ARCore making their debuts this year. These releases turned the current smartphones owned by millions of Apple and Android users into AR-capable machines. Within a few short weeks, some of the most talked about apps in Apple’s App Store were AR apps.
Record spatial features of real-world objects, then use the results to find those objects in the user’s environment and trigger AR content.
ARCore is a platform for building augmented reality apps on Android. Cloud Anchors gives you the ability to create AR apps that share a common frame-of-reference, enabling multiple users to place virtual content in the same real world location that can be seen on different devices in the same position and orientation relative to the environment.
This codelab guides you through modifying a pre-existing ARCore app to use the Cloud Anchors APIs, and demonstrates how you can create a shared AR experience.
Augmented Reality: Marketing’s Trillion-Dollar Opportunity Within this decade, augmented reality is going to change the way the always-connected consumer works, shops and plays.
Augmented Reality (AR) interfaces have been studied extensively over the last few decades, with a growing number of user-based experiments. In this paper, we systematically review 10 years of the most influential AR user studies, from 2005 to 2014. A total of 291 papers with 369 individual user studies have been reviewed and classified based on their application areas. The primary contribution of the review is to present the broad landscape of user-based AR research, and to provide a high-level view of how that landscape has changed. We summarize the high-level contributions from each category of papers, and present examples of the most influential user studies. We also identify areas where there have been few user studies, and opportunities for future research. Among other things, we find that there is a growing trend toward handheld AR user studies, and that most studies are conducted in laboratory settings and do not involve pilot testing. This research will be useful for AR researchers who want to follow best practices in designing their own AR user studies.
Augmented reality project adds a little road system to your living room floor. Invisible Highway is an experiment in controlling physical things in the real world by drawing in Augmented Reality. Simply make a pathway along the floor on your phone and the robot car will follow that path on the actual floor in your room. A custom highway with scenery is generated along the path to make the robots a little more scenic on your phone screen.
IKEA AR The Swedish home goods giant IKEA has been a trailblazer when it comes to applying new technology to improve its products and overall retail experience. Today, it’s taking the latest step into the future of shopping with the launch of IKEA Place, one of the first wave of augmented reality apps getting released today to work with Apple’s new ARKit technology and iOS 11.
CHOICE AR APP A nationwide hunt for real free range eggs is underway ahead of the Easter holiday, as CHOICE releases major updates to its augmented-reality app, CluckAR.
Interested in AR’s boundless potential? Check out the Meta Blog to get more in-depth insights on this fascinating frontier.
Huyen Nguyen, ‘Immersive Analytics of Honey Bee Data’
Bees are dying – in recent years an unprecedented decline in honey bee colonies has been seen around the globe. The causes are still largely unknown. At CSIRO, the Global Initiative for Honey bee Health (GIHH) is an international collaboration of researchers, beekeepers, farmers, and industry set up to research the threats to bee health in order to better understand colony collapse and find solutions that will allow for sustainable crop pollination and food security. Integral to the research effort is RFID tags that are manually fitted to bees. The abundance of data being collected by the thousands of bee-attached sensors as well as additional environmental sensors poses a number of challenges with regard to the interpretation and comprehension of the data, both computationally as well as from a user perspective. In this talk, Huyen will discuss visual analytics techniques that have been investigated at CSIRO DATA61 to facilitate an effective path from data to insight, with a particular focus on interactive and immersive user interfaces that allow for a range of end users to effectively explore the complex sensor data.
An augmented reality system for visual analytics of honey bee behaviour in the field, Data Visualisation
Honey bees are essential for the pollination of about one third of the food we eat – including fruit, vegetables, oils, seeds and nuts – yet their health and ability to pollinate our crops is under serious threat.
Global Initiative for Honey bee Health: How do the bees’ backpacks work?
In 2015, the United Nations established a set of Sustainable Development Goals (SDGs) including ambitious aims to end poverty, create affordable energy systems, and improve global quality of education. In response, Taiwanese VR company HTC Vive provided $10 million to kick start a VR for Impact initiative that funds VR projects and solutions to help the UN reach its goals by the 2030 deadline.
Vertical video transformed from a syndrome to an accepted form of viewing the world. Agencies, film festivals, online groups, promote the portrait format. But there is a new kid on the block: 360 video.
You can enjoy all 360 video on Vimeo on your desktop, mobile device, and with or without a headset. How do you know it’s 360? Next to every 360 video’s title on vimeo.com, a 360 badge will appear.
Vimeo: The fundamentals of 360
- All the terms you need to know to create 360 video
- Beyond the frame: tips for nailing 360 video shots
- The key things to consider when shooting 360 video
- Breaking down the 360 video editing process
- 3 film genres perfectly suited for 360 video
- Your home for high-quality video (now including 360)
- Diary of a 360 video: recording Grandaddy’s live concert
- 360 videos you should be watching
- Vimeo 360: the new home for immersive storytelling
- 360 storytelling: tips from 5-time Staff Picked company RYOT
Does It Make A Sound | 360 Title Sequence for Semi-Permanent. Was created by the Australian-based animation studio Poke The Bear. The title sequence for the prestigious Semi-Permanent conference in Sidney was made using Getty royalty-free 360 stock footage combined with CG character animations. All post-production was done with Adobe software and Mettle SkyBox Suite* of 360/VR plugins.
*Skybox 360/VR Plug-ins have been acquired by Adobe and will be integrated into After Effects and Premiere by the end of 2017. They are available now for free if you’re an Adobe Creative Cloud subscriber.
360 Vision 2018: Keynote speaker Lynette Wallworth
6K 3D 360° Drone Aerial of Epic Sunset Castaic Lake California | DJI M600 + Obsidian R
How not to start a mod
User experience is an under-appreciated but crucial aspect of modern technology and software — particularly in the field of video games, which have to introduce complex ideas without intimidating players. In this week’s podcast, Chris is joined by UX Director, Celia Hodent, who put her PhD in psychology, specialized in cognitive development, to good use in helping create Fortnite.
Creating a Chinese CyberNeon Game Environment In UE4
My name is Junliang Zhang. I come from Shanghai, China. I am a 3D Environment Artist currently working at 3BLACKDOT in Los Angeles, USA. My passion for the game industry comes from my childhood. I still remembered how much I was setting in front of computer playing the most of classical PC games back to 90’s, such as, Starcraft, Commend & Conquer series, and Age of Empires II. When I usually playing these games I always wondered how they were made arts and gameplay or how I could make something cool mods. Therefore, My true interest is game art.
How do you create photorealistic versions of the world’s most well-known TV stars from scratch? We asked RealtimeUK to break down its epic video game cinematic.
Over the course of eight years and 73 episodes, Game of Thrones has gone from cult TV show to cultural phenomenon. Based on George RR Martin’s A Song of Ice and Fire, millions of people around the world are now tuning in to find out about the fate of the Starks, Lannisters and Targaryens as the series draws to a close.
How games are delivering increasingly innovative experiences. As an ever-evolving industry driven by creative technologies, games are always aiming to the future to deliver increasingly innovative and visually captivating experiences. Today’s 3D game artists aren’t just tasked with pushing polygons beyond the boundaries of previous generations; they’re helping to shape a whole new world of immersion across the AAA and indie landscape.
The sheer volume and variety of games hitting the market in recent years is staggering, thanks in large part to accessible tools like Unity and Unreal Engine lowering the barrier to entry and allowing more developers to create impressive projects in a fraction of the time. With studios of all sizes now armed with even more ways to streamline and shorten the development process, game artists benefit from new technologies and techniques that help them keep pace without sacrificing the quality of their work.
For our inspirations, we did not want to find ourselves too quickly copying the artistic direction of a particular game, we avoided as much as possible to make reference to already existing games.
Our universe was created around multiple references from the reality and artworks made by independent artists. These 2 points were very important for us, on the one hand, we wanted to give credibility in our creations with our real references, and tint these creations with references from other artists, this without ever losing the essential points of an architecture of medieval city or castle as well as armour creation.
Hi, my name is Mauricio Llano a 3D game artist looking to break into the industry. I’ve done two internships, one with Lee Lanier for animation and VFX and the second in the amazing outsource company CGBot. At the latter is where I found my love for doing art for games. At first, I wanted to go for environment art. But then realized I needed to polish my skills on single assets first and what a better way to do it than doing Weapons and Props with Ethan Hiley. All of you that are thinking on taking any course, feel confident that it is well worth it. I had industry exposure and what you learn is the real deal and you learn amazing tricks from industry professionals.
This week, we chat with Behavior’s Damien Devaux, the principal Character Artist on Dead by Daylight. He speaks about his involvement on the project, including the new Leatherface DLC, as well as some of the techniques he uses on a day-to-day basis. Enjoy!
Halloween hasn’t really taken off in Australia as much as it has in the northern hemisphere, but that won’t stop costumer-lovers and scare-enthusiasts alike from celebrating! Whether that means dressing up, baking some tasty treats or hosting a movie marathon that’s bound to be a scream; the spooky season is here!
Video games historically are culturally colourless, Australians have a unique way and are now exploring history and storytelling that are uniquely Australian.
Microsoft created waves at E3 this year with the announcement of their new gaming console, Xbox One X. Kicking off the release was a spectacular trailer created by the crew at Blind. The minute we saw it, we knew we had to find out more from the team about how it was made. Below, Creative Director Matthew Encina offers an exclusive look inside the inspiration, process and tools of the momentous trailer.
EPIC GAMES Unreal Engine
If You Love Something, Set It Free. You can download the engine and use it for everything from game development, education, architecture, and visualization to VR, film and animation. When you ship a game or application, you pay a 5% royalty on gross revenue after the first $3,000 per product, per quarter. It’s a simple arrangement in which we succeed only when you succeed.
Who says the creativity well has run dry? We’re still seeing a number of innovative entrepreneurs making waves in 2017. You’ll find a lot of them pitching their ideas on crowd-funding websites such as Kickstarter and IndieGoGo, where anyone can pledge some money to support new products and business ideas.
WORDS OF WISDOM FROM SUCCESSFUL INDIE DEVS Looking to see what it takes to become a successful indie developer? You’ve come to right place. We spoke to ten game devs and asked for their words of wisdom on making it in the indie world.
Some games: Bioshock Infinite, LA Noire, Borderlands The Pre-Sequel, Flight Control, Fruit Ninja, Crossy Road.
With a number of great games in the lineup, you might not know where to start when it comes to planning out your pre-orders or tactical secondhand purchases.
SPACEBAR 1962 Steve Russell
COMPUTER SPACE 1971 Nolan Bushnell, PONG 1972 Atari
PAC-MAN, PuckMan Tori Iwatani ARGO version, PONG,
ASTEROIDS, AMPED, ACCLAIM
BLOOD WAKE, BUBBLE BUBBLE
CRAVE, CAPCOOM, CENTIPEDE
DOOM, DEAD or ALIVE 3, DEFENDER, DONKEY KING, DIG DUG
MYST, MISSILE COMMAND, MOON PATROL
ODD WORLD: MUNCH’S ODDYSEE
PROJECT GOTHAM. POOYAN, PENGO
SEGA, SIERRA ENTERTAINMENT, SHREK, SUPER MARIO BROS 3, SPACE INVADERS, SCRABBLE
TAKE-TWO, TIME-PILOT, TEMPEST
MAME ENTERTAINMENT: originally stood for Multiple Arcade Machine Emulator. MAME’s purpose is to preserve decades of software history. As electronic technology continues to rush forward, MAME prevents this important “vintage” software from being lost and forgotten. This is achieved by documenting the hardware and how it functions. The source code to MAME serves as this documentation. The fact that the software is usable serves primarily to validate the accuracy of the documentation (how else can you prove that you have recreated the hardware faithfully?). Over time, MAME absorbed the sister-project MESS (Multi Emulator Super System), so MAME now documents a wide variety of (mostly vintage) computers, video game consoles and calculators, in addition to the arcade video games that were its initial focus.
MACMAME: is part of the MAME project, a non-profit organization dedicated to preserving the history of arcade videogames via emulation. MacMAME achieves this by running the original program code found in the arcade games. As such, it is much more than a reproduction, it is essentially that same game running via an emulated layer inside your Macintosh. On this site you’ll find the most current build of MacMAME, information about upcoming versions and instructions for using it. Please look around and enjoy reliving some of the games that made going to video arcades an enjoyable part of our pop culture. You can move to various parts of the site by clicking on the headings to the left.
Video Game Archive for ROM images to download and play with MAME
Original Xbox Retrospective: 2001 – 2002 (PART 1)