Technology

The Infinity Wall

Over the last few years, I have seen a ton of projection mapping projects for everything from commercial product launches to venue openings and trade show keynotes.  Most of the time they have glitzy over the top projects that have a very specific theme or story line. I think the reason I am so impressed with the example below is because it is a hypnotic blend of simplicity, monochrome hues, and mesmerizing shapes.

In an empty lot on the outskirts of the city of Doha a 54,000 square foot tent was erected for a private event. In front of the tent stands a 360 foot wide by 30 foot tall fabric-covered wall.  On to it digital projectors,  projection-mapped 3D animations onto the it, giving the illusion of a large-scale kinetic modern art installation floating in the desert.

With less than three weeks lead time Megavision Arts, and top Qatari event producer and designer Fahad Signature tasked produced the 3D projection-mapping effect in order to mystify, entertain and engage the 1200 guests as they arrived at the event site.

With support from BARTKRESA Design and Creative Technologies, Megavision Arts Creative Director David Corwin and producer Amber Bollinger quickly assembled a team of artists, designers, technicians, and programmers to complete the project. With only one face-to-face meeting between Corwin and Art Director Vincent Rogozyk, the entire team assembled in Doha five days before the event. A fully-equipped design and animation studio was temporarily configured in a meeting room at the St. Regis Hotel in Doha, and they managed to produce this spectacular piece.

Based on the clients’ request for a 3D projection mapping that would be “very modern, artistic and magical” Corwin and Rogozyk began playing with abstract concepts that were evocative of Fahad Signature’s designs for the event, which included elements such as curvilinear wood furniture and sculptural wooden columns. Polish artists and animators Maciej Bałauszko and Michał Czubak were added to the team and began expounding upon the sketches, turning the rough curvilinear biomorphic and geometric ideas into polished animations. Four basic scenes of abstract 3D kinetic animations were programmed to loop, morph and transition from one design to the next over the course of just under 3 minutes. The animations included Optical Waves, Piano Tiles, Ribbon Architecture and the Involuted Helix.

Eighteen double-stacked Panasonic DZ21K projectors converged and were blended using a Dataton Watchout media server to create one large seamless image. They illuminated the Infinity Wall with over 300,000 lumens of light. The animation files consisted of 14,148,000 pixels per frame, which equates to over 21 BILLION pixels per minute being pushed through the system.

As guests pulled off the highway onto a freshly graded and paved driveway, to their surprise and delight they encountered a fantastic undulating phantasm looming on the horizon. As they continued towards the projected mirage, a custom score with synchronized sound design elements enhanced the illusion even more.

Advertisements

Google Got Nominated For An Oscar

Google introduced their 360 Spotlight Stories a little over a year ago and they have been gaining steady traction since. If you haven’t checked out the VR tech you can see all of the videos on YouTube here, and if you have a VR headset that is connected to the internet I suggest giving it a view that way as well. The films themselves are really well done with compelling stories and solid animation to match, and while this has the opportunity to be a huge marketing tool for any number of industries it really shines as an entertainment vehicle. Case in point the video below that has been nominated for an Oscar at this year’s Acadamy Awards. Yes, Google is in the running for an Oscar for the animated short “Pearl”. The five and a half minute animated short tells the story of a girl and her father as they travel the country in their car chasing dreams and bonding over

The five and a half minute animated short tells the story of a girl and her father as they travel the country in their car chasing dreams and bonding over song, life, and the open road. To get the full experience of the short film you need to actually pan around the environment. You can get the full impact of the story by simply watching, but the experience is far greater when you actually dive into what Google offers here, which is an immersive experience that extends the story.

Google has only released a handful of these short films, all of which are available on their YouTube channel. I think that is a testament to a couple of things. How long it takes to produce quality content, and how complex crafting this kind of immersive environment can be. I’m pretty excited to see how far this can be pushed, and I’m really looking forward to Google releasing a full development kit for this. The potential is huge on so many levels.

This Panda is Dancing

Remember life before your smartphone, tablet, and social media? Yeah I know, it’s kind of hard to imagine not being constantly connected anymore. The video below from Max Stossel & Sander van Dijk is a poetic send up about how we have all become addicted to that piece of tech sitting in your hand right now, or waiting to be retrieved from your pocket as soon as you put down whatever tech you are looking at now.

The video itself is great. A nice live action short with really well thought out graphics that have been motion tracked to specific source points in the frame. Solid editing and post work really help to polish this, but the real meat is in the message. A message with a direct call to action at the timewellspent.io website. The blurb before the video pretty much sums up what they are about.

Today apps and media compete in a race to grab our attention. Join a movement to:

  • Live better with more empowering settings for our media and devices.
  • Change incentives so media competes to improve our lives, not get eyeballs.
  • Invent new interfaces that help us to make room for what matters.

A poetic short film by Max Stossel & Sander van Dijk:

In the Attention Economy, technology and media are designed to maximize our screen-time. But what if they were designed to help us live by our values? timewellspent.io

What if news & media companies were creating content that enriched our lives, vs. catering to our most base instincts for clicks?
What if social platforms were designed to help us create our ideal social lives, instead of to maximize time-on site and “likes”?
What if dating apps measured their success in how well they helped us find what we’re looking for instead of in # of swipes?

As technology gets more and more engaging, and as AI and VR become more and more prevalent in our day-to-day lives we need to take a look at how we’re structuring our future.

Time Well Spent is a movement to align technology with our humanity: timewellspent.io

Director, Co-producer, & Visual Effects: Sander van Dijk: sandervandijk.tv

Writer, Co-producer & Lead Actor: Max Stossel: maxstossel.com

Production Company: Yacht Club Films

Director of Photography: Conor Murphy

Color: RCO

Music & Sound Design: Wesley Slover –

Steadicam Operator: Kyle Fasanella

Graphic Artist: Aaron Kemnitzer

CG Artist: Joseph Pistono

Visual Effects Assistant: Chelsea Galen

Roto Assistant: Regina Morgan-Munoz

Lead Actress: Crystal Lee

Rain or Shine Googles Latest 360º Immersive Spotlight Story

About a year ago Google launched a new line of video shorts for YouTube called Google Spotlight Stories, a specific immersive video platform with mobile users in mind. The video below can be panned through as the action takes place, but where this really shines is when you watch the video on an Android or iOS device in the native YouTube app.

Rain or Shine directed by Felix Massie is the latest in the series of shorts and is really quite impressive beyond the technology. The story and character development are superb drawing the viewer in and engaging with them as the explore the environment as the story plays out. The story is simple yet clever. The main character, Ella puts on a pair of magical sunglasses and travels through her London neighborhood creating chaos before learning how to use the glasses for good.

This really is a better experience on your phone, so if you have a chance watch it and the other Google Spotlight Stories there.

 

To view the show in full interactive 360, use the YouTube App on a compatible Android device (https://goo.gl/7BYwRJ). For iOS, download the Google Spotlight Stories app now (https://goo.gl/eadPnO).

Subscribe to our channel here: https://youtube.com/gss

Learn more here: https://www.google.com/atap/spotlight…

Follow us on Twitter: https://twitter.com/GoogleATAP

These interactive stories are optimized for a fast connection (WiFi or LTE) and a supported Android device. Also, please update your YouTube app for the best experience.

For more information on supported devices and known issues, please visit our FAQ page: https://goo.gl/7BYwRJ

Buster the Boxer Likes To Bounce.

Every year British department store chain John Lewis goes all in on their holiday marketing campaign, and this year is no exception. From the TV commercial, “Buster’s Garden” to the extended length YouTube spot, the VR 360 companion video and the website, plus social media (they have a dedicated Snapchat filter you can get) they have pulled out all the stops. The video is a really nice blend of CG and live action with a story that ties it all together. The concept is built around the story of a little girl called Bridget who loves to bounce. When her mom and dad buy her a trampoline for Christmas, they soon discover that she isn’t the only one with a passion for jumping.

If you click through to YouTube and select the more information section you will see where John Lewis has partnered with the Wildlife Trusts to help protect and restore our nation’s wildlife and natural habitat for our children today and in the future. I addition there are options to sign up for additional videos that will be posting this holiday season and the usual hooks to social media as well. The microsite does a really solid job of integrating the extended content and encouraging visitors to do more than just shop. While shopping is encouraged and there are really strong ties to product related specifically to the advertising, there are additional calls to action with Bring Skills to Life which ties the campaign to real world activities children can engage with at home.

One of the things that I think is really interesting, and I wish I were going to the UK to see it in person, is the fact that John Lewis has created Buster’s Garden at a number of their stores allowing you to explore the space using Oculus Rift technology. Like the rest of the campaign, its a nice blend of technology and the physical store environments.

Adobe’s Software Development Teams Need To Get a Clue.

adobeYesterday I finally broke down and installed all of the software upgrades that Adobe’s Creative Cloud had been pushing on me since they were announced at Adobe Max. While the process of running the upgrades wasn’t painful (at first) it was time-consuming (and still is). So let’s get to this. If you haven’t upgraded yet, be prepared to spend a boat load of time being involved with this process. Not because the initial upgrade will eat your day, but because the aftermath will. Why? because the Adobe software engineering team failed to take into account that an upgrade involves more than just their base software. It involves all the third-party plugins, presets scripts, and additional add-ons that most of use to extend Adobe’s software and make it more functional.

The new upgrade installs completely new versions of the Creative Cloud suite. That’s right it doesn’t actually upgrade your existing software base, it installs a brand new version of each piece of software you use. Adobe, this is an engineering fail and let me explain why. By installing a new version of the software as opposed to overwriting the existing software you force me to spend hours downloading and reinstalling hundreds of third-party add-ons across 14 applications that were upgraded in a single move. Now I know I am probably an exception to the rule since I use more than the average Joe when it comes to your software suite, but even for people only using, let’s say Photoshop, Illustrator, and InDesign, this sucks. For instance, I have to now download and reinstall just for Photoshop the Nik plugin pack, Topaz Denoise, Natural HDR, Luminosity mask scripts, all of the actions I had created for previous versions, and a handful of other plugins and scripts. For After Effects it’s even worse I have to download and reinstall the entire Red Giant suite, (Particular, Light Factory, Composite Wizard, Holomatrix, Warp, Text Anarchy, Plane Space, Lux, Shine, Starglow, 3D Stroke, Sound Keys, Mir, Tow, Form, Looks, Colorista, Primatte, and about 8 more), not to mention scripts like Ease and Wizz and about 10 others.

This is a giant time suck, and time is money.

Adobe is the 800-pound gorilla when it comes to creative software. If you are a graphic designer, photographer, illustrator, filmmaker, typographer, sound designer, videographer, or artist you probably use at least one Adobe product if not components from the entire suite, and you are probably using Adobe’s Creative Cloud to stay current. Like many of you, I have a love-hate relationship with the Creative Cloud. I love that it keeps me up to date. I hate that every time there is a major upgrade I have to go through this bullshit. I get that Adobe moved to the Creative Cloud set up to combat software piracy, and control versioning across a large distribution base. What I don’t get is why after 3 or 4 years of pushing everyone to use the Creative Cloud, no one at Adobe has figured out that their upgrade process truly sucks. It’s broken. The user experience after making the upgrade is pure crap. It’s a gigantic time suck, and it could be avoided. The thing is, when you are the only game in town, you don’t have to make things right for your customer base

The thing is, when you are the only game in town, you don’t have to make things right for your customer base. You just keep doing what you are doing, because the chances of being dethroned after 30 years is pretty small. Adobe if you are listening, and I doubt you are, I am going to spend the better part of a day completing the upgrade to CC 2017, because your software engineering team didn’t feel that it was important enough to create an actual “Upgrade” as opposed to a complete new install. A new install that left legacy versions of 10 applications sitting on my hard drive wasting space, and is forcing me to track down essential tools I need to complete my workflow and reinstall them.

I know there are alternative tool sets available, but like so many I have bought into the Adobe workflow, and have spent decades learning to use these tools to master my craft. For lack of a better term, Adobe has me by the balls, and they know I am too invested to give them up. Consequently, it feels as though they have stopped giving a damn about the total user experience which involves maintenance like upgrades, but hey they added some new features to Photoshop I’ll probably never use.

I wonder if I can send them a bill for the time I’ll spend installing everything else I need to make the current updates fully functional with my workflow?

 

UPDATE: Like pouring salt in an open wound, if you are a Mac user, all of the applications in your Dock no longer work so you get to spend additional time removing all of them and adding the new application updates back in.

dock

Plume, Solving Your WiFi Dead Zones.

I don’t live in a large house so WiFi connectivity and bandwidth really isn’t an issue for me. I know that it can be frustrating as all hell though for people in larger homes and with multiple users competing for a single signal coming off a router located in the most inconvenient spot in your home. A new solution coming to market in November wants to render this a non-issue.

plume1

Plume is the a new Adaptive WiFi system, that takes a series of small, discrete hexagonal boxes and spreads WiFi throughout your domicile. According to the site, “Plume is the only WiFi solution powered by the cloud, which means it can adapt to real life in real-time—ensuring every room and every device has a reliably fast connection today, tomorrow, and years from now.” Sounds promising. The devices also maximize data flow on your WiFi network  by handling different types of traffic for a smooth, uninterrupted experience. Plume apparently knows the difference between different data types and allocates bandwidth according to need. And Plume doesn’t use a traditional mesh system to hop between source points which adds latency and slows data transfer. Plume uses a different channel or band for each hop, never slowing down your WiFi speed.

plume5

Plume has a great look to it. Clean, minimal, small in scale. It is definitely designed to blend into a space and disappear. Modest in appearance, and petite in size each pod feels like a small piece of modern sculpture plugged into your power outlets. Plume can be preordered as individuals at 39 bucks a pop or sets of 6 which will set you back $234.00.

plume8

plume6

plume7

plume3

plume1

plume