View this newsletter in a browser.

 



VR Audio: Crytek goes to new
heights for VR game The Climb

By Jennifer Walden

Dealing with locomotion, such as walking and especially running, is a challenge for VR content developers — but what hasn’t been a challenge in creating VR content? Climbing, on the other hand, has proved to be a simple, yet interesting, locomotion that independent game developer Crytek found to be sustainable for the duration of a full-length game.

Crytek, known for the Crysis game series, recently released their first VR game title, The Climb, a rock climbing adventure exclusively for the Oculus Rift. Players climb, swing and jump their way up increasingly difficult rock
faces modeled after popular climbing destinations like Indonesia, the Grand Canyon and The Alps.

Crytek’s director of audio , Simon Pressey , says their game engine, CryEngine, is capable of UltraHD resolutions higher than 8K. They could have taken GPS data of anywhere in the world and turned that into a level on The Climb. “But to make the climbing interesting and compelling, we found that real geography wasn’t the way to go. Still, we liked the idea of representing different areas of the world,” he says. While the locations Crytek designed aren’t perfect geographical imitations, geologically they’re pretty accurate. “The details of how the rocks look up close — the color, the graininess and texture — they are as close to photorealistic as we can get in the Oculus Rift. We are running at a resolution that the Rift can handle. So how detailed it looks depends on the Rift’s capabilities.”

Keep in mind that this is first-generation VR technology. “It’s going to get better,” promises Pressey. “By the third-generation of this, I’m sure we’ll have visuals you can’t tell apart from reality.”

Read More >







The cloud and production storage
By Tom Coughlin

The network of connected data centers known as “the cloud” is playing a greater role in many media and entertainment applications. This includes collaborative workflows and proxy viewing, rendering, content distribution and archiving. Cloud services can include processing power as well as various types of digital storage.

Read More >

Review: Divergent Media’s Edit Ready 1.4 and ScopeBox 3.5
By Brady Betzel

It’s been almost two years since I first reviewed Divergent Media’s video transcoder EditReady version 1.0.2… and I was thoroughly impressed with the speed and ease of use. The only thing
that left me wanting more was the fact it was a Mac-only product.

Read More >

Checking in with Mammal Studios

LA-based Mammal Studio is a full-service VFX house providing CG and 2D visual effects for feature film, television, commercials and music video. They opened their doors in the summer of 2013 and have some pretty high-profile work on their resume, including the films The Shallows, The 5th Wave, Concussion, Joy and Hardcore Henry.

Read More >



Experiencing autism in VR via Happy Finish

Deborah Sullivan joins Vico Sharabani’s The Artery VFX

Automatic Duck ships Xsend Motion software

For more information contact  info@postPerspective.com

Read past newsletters at  www.postperspective.com/newsletter

© 2016 postPerspective. All Rights Reserved.

Unsubscribe