Arraiy 4.11.19

Category Archives: 360

Behind the Title: Nice Shoes animator Yandong Dino Qiu

This artist/designer has taken to sketching people on the subway to keep his skills fresh and mind relaxed.

NAME: Yandong Dino Qiu

COMPANY: New York’s Nice Shoes

CAN YOU DESCRIBE YOUR COMPANY?
Nice Shoes is a full-service creative studio. We offer design, animation, VFX, editing, color grading, VR/AR, working with agencies, brands and filmmakers to help realize their creative vision.

WHAT’S YOUR JOB TITLE?
Designer/Animator

WHAT DOES THAT ENTAIL?
Helping our clients to explore different looks in the pre-production stage, while aiding them in getting as close as possible to the final look of the spot. There’s a lot of exploration and trial and error as we try to deliver beautiful still frames that inform the look of the moving piece.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
Not so much for the title, but for myself, design and animation can be quite broad. People may assume you’re only 2D, but it also involves a lot of other skill sets such as 3D lighting and rendering. It’s pretty close to a generalist role that requires you to know nearly every software as well as to turn things around very quickly.

WHAT TOOLS DO YOU USE?
Photoshop, After Effects,. Illustrator, InDesign — the full Adobe Creative Suite — and Maxon Cinema 4D.

WHAT’S YOUR FAVORITE PART OF THE JOB?
Pitch and exploration. At that stage, all possibilities are open. The job is alive… like a baby. You’re seeing it form and helping to make new life. Before this, you have no idea what it’s going to look like. After this phase, everyone has an idea. It’s very challenging, exciting and rewarding.

WHAT’S YOUR LEAST FAVORITE?
Revisions. Especially toward the end of a project. Everything is set up. One little change will affect everything else.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
2:15pm. Its right after lunch. You know you have the whole afternoon. The sun is bright. The mood is light. It’s not too late for anything.

Sketching on the subway.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I would be a Manga artist.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
La Mer. Frontline. Friskies. I’ve also been drawing during my commute everyday, sketching the people I see on the subway. I’m trying to post every week on Instagram. I think it’s important for artists to keep to a routine. I started up with this at the beginning of 2019, and there’ve been about 50 drawings already. Artists need to keep their pen sharp all the time. By doing these sketches, I’m not only benefiting my drawing skills, but I’m improving my observation about shapes and compositions, which is extremely valuable for work. Being able to break down shapes and components is a key principle of design, and honing that skill helps me in responding to client briefs.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
TED-Ed What Is Time? We had a lot of freedom in figuring out how to animate Einstein’s theories in a fun and engaging way. I worked with our creative director Harry Dorrington to establish the look and then with our CG team to ensure that the feel we established in the style frames was implemented throughout the piece.

TED-Ed What Is Time?

The film was extremely well received. There was a lot of excitement at Nice Shoes when it premiered, and TED-Ed’s audience seemed to respond really warmly as well. It’s rare to see so much positivity in the YouTube comments.

NAME SOME TECHNOLOGY YOU CAN’T LIVE WITHOUT.
My Wacom tablet for drawing and my iPad for reading.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I take time and draw for myself. I love that drawing and creating is such a huge part of my job, but it can get stressful and tiring only creating for others. I’m proud of that work, but when I can draw something that makes me personally happy, any stress or exhaustion from the work day just melts away.

IDEA launches to create specs for next-gen immersive media

The Immersive Digital Experiences Alliance (IDEA) will launch at the NAB 2019 with the goal of creating a suite of royalty-free specifications that address all immersive media formats, including emerging light field technology.

Founding members — including CableLabs, Light Field Lab, Otoy and Visby — created IDEA to serve as an alliance of like-minded technology, infrastructure and creative innovators working to facilitate the development of an end-to-end ecosystem for the capture, distribution and display of immersive media.

Such a unified ecosystem must support all displays, including highly anticipated light field panels. Recognizing that the essential launch point would be to create a common media format specification that can be deployed on commercial networks, IDEA has already begun work on the new Immersive Technology Media Format (ITMF).

ITMF will serve as an interchange and distribution format that will enable high-quality conveyance of complex image scenes, including six-degrees-of-freedom (6DoF), to an immersive display for viewing. Moreover, ITMF will enable the support of immersive experience applications including gaming, VR and AR, on top of commercial networks.

Recognized for its potential to deliver an immersive true-to-life experience, light field media can be regarded as the richest and most dense form of visual media, thereby setting the highest bar for features that the ITMF will need to support and the new media-aware processing capabilities that commercial networks must deliver.

Jon Karafin, CEO/co-founder of Light Field Lab, explains that “a light field is a representation describing light rays flowing in every direction through a point in space. New technologies are now enabling the capture and display of this effect, heralding new opportunities for entertainment programming, sports coverage and education. However, until now, there has been no common media format for the storage, editing, transmission or archiving of these immersive images.”

“We’re working on specifications and tools for a variety of immersive displays — AR, VR, stereoscopic 3D and light field technology, with light field being the pinnacle of immersive experiences,” says Dr. Arianne Hinds, Immersive Media Strategist at CableLabs. “As a display-agnostic format, ITMF will provide near-term benefits for today’s screen technology, including VR and AR headsets and stereoscopic displays, with even greater benefits when light field panels hit the market. If light field technology works half as well as early testing suggests, it will be a game-changer, and the cable industry will be there to help support distribution of light field images with the 10G platform.”

Starting with Otoy’s ORBX scene graph format, a well-established data structure widely used in advanced computer animation and computer games, IDEA will provide extensions to expand the capabilities of ORBX for light field photographic camera arrays, live events and other applications. Further specifications will include network streaming for ITMF and transcoding of ITMF for specific displays, archiving, and other applications. IDEA will preserve backwards-compatibility on the existing ORBX format.

IDEA anticipates releasing an initial draft of the ITMF specification in 2019. The alliance also is planning an educational seminar to explain more about the requirements for immersive media and the benefits of the ITMF approach. The seminar will take place in Los Angeles this summer.

Photo Credit: All Rights Reserved: Light Field Lab. Future Vision concept art of room-scale holographic display from Light Field Lab, Inc.

Arraiy 4.11.19

Behind the Title: Light Sail VR MD/EP Robert Watts

This creative knew as early as middle school that he wanted to tell stories. Now he gets to immerse people in those stories.

NAME: Robert Watts

COMPANY: LA-based Light Sail VR (@lightsailvr)

CAN YOU DESCRIBE YOUR COMPANY?
We’re an immersive media production company. We craft projects end-to-end in the VR360, VR180 and interactive content space, which starts from bespoke creative development all the way through post and distribution. We produce both commercial work and our own original IP — our first of which is called Speak of the Devil VR, which is an interactive, live-action horror experience where you’re a main character in your own horror movie.

WHAT’S YOUR JOB TITLE?
Managing Partner and Executive Producer

WHAT DOES THAT ENTAIL?
A ton. As a startup, we wear many hats. I oversee all production elements, acting as producer. I run operations, business development and the financials for the company. Then Matt Celia, my business partner and creative director, collaborates on the overall creative for each project to ensure the quality of the experience, as well as making sure it works natively (i.e.: is the best in) the immersive medium.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
I’m very hands-on on set, almost to a fault. So I’ve ended up with some weird (fake) credits, such as fog team, stand-in, underwater videographer, sometimes even assistant director. I do whatever it takes to get the job done — that’s a producer’s job.

WHAT TOOLS DO YOU USE?
Excluding all the VR headsets and tech, on the producing side Google Drive and Dropbox are a producer’s lifeblood, as well as Showbiz Budgeting from Media Services.

WHAT’S YOUR FAVORITE PART OF THE JOB?
I love being on set watching the days and weeks of pre-production and development coalesce. There’s an energy on set that’s both fun and professional, and that truly shows the crew’s dedication and focus to get the job done. As the exec producer, it’s nice being able to strike a balance between being on set and being in the office.

Light Sail VR partners (L-R): Matt Celia and Robert Watts

WHAT’S YOUR LEAST FAVORITE?
Tech hurdles. They always seem to pop up. We’re a production company working on the edge of the latest technology, so something always breaks, and there’s not always a YouTube tutorial on how to fix it. It can really set back one’s day.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
We do “Light Sail Sandwich Club” at lunch and cater a smorgasbord of sandwich fixings and crafty services for our teams, contractors and interns. It’s great to take a break from the day and sit down and connect with our colleagues in a personal way. It’s relaxed and fun, and I really enjoy it.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I love what I do, but I also like giving back. I think I’d be using my project management skills in a way that would be a force for good, perhaps at an NGO or entity working on tackling climate change.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
Middle school. My family watched a lot of television and films. I wanted to be an archaeologist after watching Indiana Jones, a paleontologist after Jurassic Park, a submarine commander after Crimson Tide and I fancied being a doctor after watching ER. I got into theater and video productions in high school, and I realized I could be in entertainment and make all those stories I loved as a kid.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
At the tail end of 2018, we produced 10 360-degree episodes for Refinery29 (Sweet Digs 360), 10 VR180 episodes (Get Glam, Hauliday) and VR180 spots for Bon Appetit and Glamour. We also wrapped on a music video that’s releasing this year.

On top of it all, we’ve been hard at work developing our next original, which we will reveal more details about soon. We’ve been busy! I’m extremely thankful for the wonderful teams that helped us make it all happen.

Now Your Turn

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
I am very proud of the diversity project we did with Google, Google: Immerse, as well as our first original, Speak of the Devil. But I think our first original series Now Your Turn is the one I’m going to pick. It’s a five-episode VR180 series that features Geek & Sundry talent showcasing some amazing board games. It’s silly and fun, and we put in a number of easter eggs that make it even better when you’re watching in a headset. I’m proud of it because it’s an example of where the VR medium is going — series that folks tune into week to week.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
My Mac for work and music — I’m constantly listening to music while I work. My Xbox One is where I watch all my content and, lastly, my VIVE set up at home. I like to check out all the latest in VR, from experiences to gaming, and I even work out with it playing BoxVR or Beat Saber.

WHAT KIND OF MUSIC DO YOU LISTEN TO AT WORK?
My taste spans from classic rock to techno/EDM to Spanish guitar.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I try to have a work-life balance. I don’t set my email notifications to “push.” Instead, I make the choice of when I check my emails. I do it frequently enough I don’t ever feel I’m out of the loop, but that small choice helps me feel in control of all the hundreds of things that happen on a day-to-day basis.

I make time every night and on the weekends to spend time with my lovely wife, Jessica. When we’re not watching stuff, we’re seeing friends and playing board games — we’re big nerds. It’s important to have fun!


Sandbox VR partners with Vicon on Amber Sky 2088 experience

VR gaming company Sandbox VR has been partnering and working with Vicon motion capture tools to create next-generation immersive experiences. By using Vicon’s motion capture cameras and its location-based VR (LBVR) software Evoke, the Hong Kong-based Sandbox VR is working to transport up to six people at a time into the Amber Sky 2088 experience, which takes place in a future where the fate of humanity lies in the balance.

Sandbox VR’s adventures resemble movies where the players become the characters. With two proprietary AAA-quality games already in operation across Sandbox VR’s seven locations, for its third title, Amber Sky 2088, a new motion capture solution was needed. In the futuristic game, users step into the role of androids, granting players abilities far beyond the average human while still scaling the game to their actual movements. To accurately convey that for multiple users in a free-roam environment, precision tracking and flexible scalability were vital. For that, Sandbox VR turned to Vicon.

Set in the twilight of the 21st century, Amber Sky 2088 takes players to a futuristic version of Hong Kong, then through the clouds to the edge of space to fight off an alien invasion. Android abilities allow players to react with incredible strength and move at speeds fast enough to dodge bullets. And while the in-game action is furious, participants in the real-world — equipped with VR headsets —  freely roam an open environment as Vicon LBVR motion capture cameras track their movement.

Vicon’s motion capture cameras record every player movement, then send the data to its Evoke software, a solution introduced last year as part of its LBVR platform, Origin. Vicon’s solution offers  precise tracking, while also animating player motion in realtime, creating a seamless in-game experience. Automatic re-calibration also makes the experience’s operation easier than ever despite its complex nature, and the system’s scalability means fewer cameras can be used to capture more movement, making it cost-effective for large scale expansion.

Since its founding in 2016, Sandbox VR has been creating interactive experiences by combining motion capture technology with virtual reality. After opening its first location in Hong Kong in 2017, the company has since expanded to seven locations across Asia and North America, with six new sites on the way. Each 30- to 60-minute experience is created in-house by Sandbox VR, and each can accommodate up to six players at a time.

The recent partnership with Vicon is the first step in Sandbox VR’s expansion plans that will see it open over 40 experience rooms across 12 new locations around the world by the end of the year. In considering its plans to build and operate new locations, the VR makers chose to start with five systems from Vicon, in part because of the company’s collaborative nature.


Behind the Title: Left Field Labs ECD Yann Caloghiris

NAME: Yann Caloghiris

COMPANY: Left Field Labs (@LeftFieldLabs)

CAN YOU DESCRIBE YOUR COMPANY?
Left Field Labs is a Venice-California-based creative agency dedicated to applying creativity to emerging technologies. We create experiences at the intersection of strategy, design and code for our clients, who include Google, Uber, Discovery and Estée Lauder.

But it’s how we go about our business that has shaped who we have become. Over the past 10 years, we have consciously moved away from the traditional agency model and have grown by deepening our expertise, sourcing exceptional talent and, most importantly, fostering a “lab-like” creative culture of collaboration and experimentation.

WHAT’S YOUR JOB TITLE?
Executive Creative Director

WHAT DOES THAT ENTAIL?
My role is to drive the creative vision across our client accounts, as well as our own ventures. In practice, that can mean anything from providing insights for ongoing work to proposing creative strategies to running ideation workshops. Ultimately, it’s whatever it takes to help the team flourish and push the envelope of our creative work.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
Probably that I learn more now than I did at the beginning of my career. When I started, I imagined that the executive CD roles were occupied by seasoned industry veterans, who had seen and done it all, and would provide tried and tested direction.

Today, I think that cliché is out of touch with what’s required from agency culture and where the industry is going. Sure, some aspects of the role remain unchanged — such as being a supportive team lead or appreciating the value of great copy — but the pace of change is such that the role often requires both the ability to leverage past experience and accept that sometimes a new paradigm is emerging and assumptions need to be adjusted.

WHAT’S YOUR FAVORITE PART OF THE JOB?
Working with the team, and the excitement that comes from workshopping the big ideas that will anchor the experiences we create.

WHAT’S YOUR LEAST FAVORITE?
The administrative parts of a creative business are not always the most fulfilling. Thankfully, tasks like timesheeting, expense reporting and invoicing are becoming less exhaustive thanks to better predictive tools and machine learning.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
The early hours of the morning, usually when inspiration strikes — when we haven’t had to deal with the unexpected day-to-day challenges that come with managing a busy design studio.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I’d probably be somewhere at the cross-section between an artist, like my mum was, and an engineer like my dad. There is nothing more satisfying than to apply art to an engineering challenge or vice versa.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
I went to school in France, and there wasn’t much room for anything other than school and homework. When I got my Baccalaureate, I decided that from that point onward that whatever I did, it would be fun, deeply engaging and at a place where being creative was an asset.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
We recently partnered with ad agency RK Venture to craft a VR experience for the New Mexico Department of Transportation’s ongoing ENDWI campaign, which immerses viewers into a real-life drunk-driving scenario.

ENDWI

To best communicate and tell the human side of this story, we turned to rapid breakthroughs within volumetric capture and 3D scanning. Working with Microsoft’s Mixed Reality Capture Studio, we were able to bring every detail of an actor’s performance to life with volumetric performance capture in a way that previous techniques could not.

Bringing a real actor’s performance into a virtual experience is a game changer because of the emotional connection it creates. For ENDWI, the combination of rich immersion with compelling non-linear storytelling proved to affect the participants at a visceral level — with the goal of changing behavior further down the road.

Throughout this past year, we partnered with the VMware Cloud Marketing Team to create a one-of-a-kind immersive booth experience for VMworld Las Vegas 2018 and Barcelona 2018 called Cloud City. VMware’s cloud offering needed a distinct presence to foster a deeper understanding and greater connectivity between brand, product and customers stepping into the cloud.

Cloud City

Our solution was Cloud City, a destination merging future-forward architecture, light, texture, sound and interactions with VMware Cloud experts to give consumers a window into how the cloud, and more specifically how VMware Cloud, can be an essential solution for them. VMworld is the brand’s penultimate engagement where hands-on learning helped showcase its cloud offerings. Cloud City garnered 4000-plus demos, which led to a 20% lead conversion in 10 days.

Finally, for Google, we designed and built a platform for the hosting of online events anywhere in the world: Google Gather. For its first release, teams across Google, including Android, Cloud and Education, used Google Gather to reach and convert potential customers across the globe. With hundreds of events to date, the platform now reaches enterprise decision-makers at massive scale, spanning far beyond what has been possible with traditional event marketing, management and hosting.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
Recently, a friend and I shot and edited a fun video homage to the original technology boom-town: Detroit, Michigan. It features two cultural icons from the region, an original big block ‘60s muscle car and some gritty electro beats. My four-year-old son thinks it’s the coolest thing he’s ever seen. It’s going to be hard for me to top that.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
Human flight, the Internet and our baby monitor!

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
Instagram, Twitter, Medium and LinkedIn.

CARE TO SHARE YOUR FAVORITE MUSIC TO WORK TO?
Where to start?! Music has always played an important part of my creative process, and the joy I derive from what we do. I have day-long playlists curated around what I’m trying to achieve during that time. Being able to influence how I feel when working on a brief is essential — it helps set me in the right mindset.

Sometimes, it might be film scores when working on visuals, jazz to design a workshop schedule or techno to dial-up productivity when doing expenses.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
Spend time with my kids. They remind me that there is a simple and unpretentious way to look at life.


Lucid and Eys3D partner on VR180 depth camera module

EYS3D Microelectronics Technology, the company behind embedded camera modules in some top-tier AR/VR headsets, has partnered with that AI startup Lucid. Lucid will power their next-generation depth-sensing camera module, Axis. This means that a single, small, handheld device can capture accurate 3D depth maps with up to a 180-degree field of view at high resolution, allowing content creators to scan, reconstruct and output precise 3D point clouds.

This new camera module, which was demoed for the first time at CES, will allow developers, animators and game designers a way to transform the physical world into a virtual one, ramping up content for 3D, VR and AR all with superior performance in resolution and field of view at a lower cost than some technologies currently available.

A device capturing the environment exactly as you perceive it, but enhanced with capabilities of precise depth, distance and understanding could help eliminate the boundaries between what you see in the real world and what you can create in the VR and AR world. This is what the Lucid-powered EYS3D’s Axis camera module aims to bring to content creators, as they gain the “super power” of transforming anything in their vision into a 3D object or scene which others can experience, interact with and walk in.

What was only previously possible with eight to 16 high-end DSLR cameras, and expensive software or depth sensors is now combined into one tiny camera module with stereo lenses paired with IR sensors. Axis will cover up to a 180-degree field of view while providing millimeter-accurate 3D in point cloud or depth map format. This device provides a simple plug-and-play experience through USB 3.1 Gen1/2 and supported Windows and Linux software suites, allowing users to further develop their own depth applications such as 3D reconstructing an entire scene, scanning faces into 3D models or just determining how far away an object is.

Lucid’s AI-enhanced 3D/depth solution, known as 3D Fusion Technology, is currently deployed in many devices, such as 3D cameras, robots and mobile phones, including the Red Hydrogen One, which just launched through AT&T and Verizon nationwide.

EYS3D’s new depth camera module powered by Lucid will be available in Q3 2019.


Satore Tech tackles post for Philharmonia Orchestra’s latest VR film

The Philharmonia Orchestra in London debuted its latest VR experience at Royal Festival Hall alongside the opening two concerts of the Philharmonia’s new season. Satore Tech completed VR stitching for the Mahler 3: Live From London film. This is the first project completed by Satore Tech since it was launched in June of this year.

The VR experience placed users at the heart of the Orchestra during the final 10 minutes of Mahler’s Third Symphony, which was filmed live in October 2017. The stitching project was completed by creative technologist/SFX/VR expert Sergio Ochoa, who leads Satore Tech. The company used SGO Mistika technology to post the project, which Ochoa helped to develop during his time in that company — he was creative technologist and CEO of SGO’s French division.

Luke Ritchie, head of innovation and partnerships at the Philharmonia Orchestra, says, “We’ve been working with VR since 2015, it’s a fantastic technology to connect new audiences with the Orchestra in an entirely new way. VR allows you to sit at the heart of the Orchestra, and our VR experiences can transform audiences’ preconceptions of orchestral performance — whether they’re new to classical music or are a die-hard fan.”

It was a technically demanding project for Satore Tech to stitch together, as the concert was filmed live, in 360 degrees, with no retakes using Google’s latest Jump Odyssey VR camera. This meant that Ochoa was working with four to five different depth layers at any one time. The amount of fast movement also meant the resolution of the footage needed to be up-scaled from 4K to 8K to ensure it was suitable for the VR platform.

“The guiding principle for Satore Tech is we aspire to constantly push the boundaries, both in terms of what we produce and the technologies we develop to achieve that vision,” explains Ochoa. “It was challenging given the issues that arise with any live recording, but the ambition and complexity is what makes it such a very suitable initial project for us.”

Satore Tech’s next project is currently in development in Mexico, using experimental volumetric capture techniques with some of the world’s most famous dancers. It is slated for release early next year.


Our SIGGRAPH 2018 video coverage

SIGGRAPH is always a great place to wander around and learn about new and future technology. You can get see amazing visual effects reels and learn how the work was created by the artists themselves. You can get demos of new products, and you can immerse yourself in a completely digital environment. In short, SIGGRAPH is educational and fun.

If you weren’t able to make it this year, or attended but couldn’t see it all, we would like to invite you to watch our video coverage from the show.

SIGGRAPH 2018


Siggraph: StarVR One’s VR headset with integrated eye tracking

StarVR was at SIGGRAPH 2018 with its StarVR One, its next-generation VR headset built to support the most optimal lifelike VR experience. Featuring advanced optics, VR-optimized displays, integrated eye tracking and a vendor-agnostic tracking architecture, StarVR One is built from the ground up to support use cases in the commercial and enterprise sectors.

The StarVR One VR head-mounted display provides a nearly 100 percent human viewing angle — a 210-degree horizontal and 130-degree vertical field-of-view — and supports a more expansive user experience. Approximating natural human peripheral vision, StarVR One can support rigorous and exacting VR experiences such as driving and flight simulations, as well as tasks such as identifying design issues in engineering applications.

StarVR’s custom AMOLED displays serve up 16 million subpixels at a refresh rate of 90 frames per second. The proprietary displays are designed specifically for VR with a unique full-RGB-per-pixel arrangement to provide a professional-grade color spectrum for real-life color. Coupled with StarVR’s custom Fresnel lenses, the result is a clear visual experience within the entire field of view.

StarVR One automatically measures interpupillary distance (IPD) and instantly provides the best image adjusted for every user. Integrated Tobii eye-tracking technology enables foveated rendering, a technology that concentrates high-quality rendering only where the eyes are focused. As a result, the headset pushes the highest-quality imagery to the eye-focus area while maintaining the right amount of peripheral image detail.

StarVR One eye-tracking thus opens up commercial possibilities that leverage user-intent data for content gaze analysis and improved interactivity, including heat maps.

Two products are available with two different integrated tracking systems. The StarVR One is ready out of the box for the SteamVR 2.0 tracking solution. Alternatively, StarVR One XT is embedded with active optical markers for compatibility with optical tracking systems for more demanding use cases. It is further enhanced with ready-to-use plugins for a variety of tracking systems and with additional customization tools.

The StarVR One headset weighs 450 grams, and its ergonomic headband design evenly distributes this weight to ensure comfort even during extended sessions.

The StarVR software development kit (SDK) simplifies the development of new content or the upgrade of an existing VR experience to StarVR’s premium wide-field-of-view platform. Developers also have the option of leveraging the StarVR One dual-input VR SLI mode, maximizing the rendering performance. The StarVR SDK API is designed to be familiar to developers working with existing industry standards.

The development effort that culminated in the launch of StarVR One involved extensive collaboration with StarVR technology partners, which include Intel, Nvidia and Epic Games.

Composer and sound mixer Rob Ballingall joins Sonic Union

NYC-based audio studio Sonic Union has added composer/experiential sound designer/mixer Rob Ballingall to its team. He will be working out of both Sonic Union’s Bryant Park and Union Square locations. Ballingall brings with him experience in music and audio post, with an emphasis on the creation of audio for emerging technology projects, including experiential and VR.

Ballingall recently created audio for an experiential in-theatre commercial for Mercedes-Benz Canada, using Dolby Atmos, D-Box and 4DX technologies. In addition, for National Geographic’s One Strange Rock VR experience, directed by Darren Aronofsky, Ballingall created audio for custom VR headsets designed in the style of astronaut helmets, which contained a pinhole projector to display visuals on the inside of the helmet’s visor.

Formerly at Nylon Studios, Ballingall also composed music on brand campaigns for clients such as Ford, Kellogg’s and Walmart, and provided sound design/engineering on projects for AdCouncil and Resistance Radio for Amazon Studios and The Man in the High Castle, which collectively won multiple Cannes Lion, Clio and One Show awards, as well as garnering two Emmy nominations.

Born in London, Ballingall immigrated to the US eight years ago to seek a job as a mixer, assisting numerous Grammy Award-winning engineers at NYC’s Magic Shop recording studio. Having studied music composition and engineering from high school to college in England, he soon found his niche offering compositional and arranging counterpoints to sound design, mix and audio post for the commercial world. Following stints at other studios, including Nylon Studios in NYC, he transitioned to Sonic Union to service agencies, brands and production companies.