Tech company Uber has announced their latest transportation offering — an aerial ride-sharing service. With plans to begin service within cities as soon as 2023, Uber Elevate launched their marketing campaign today at the Uber Elevate Summit. Uber Elevate picked LA-based creative and production boutique Bipolar Studio to create their integrated campaign, which includes a centerpiece film, experiential VR installation, print stills and social content.
The campaign’s centerpiece film Airborne includes stunning imagery that is 100 percent CGI. Beginning on an aerial mass transit platform at Mission Bay HQ, the flight travels across the city of San Francisco, above landmarks like where the Warriors play and Transamerica Tower. Lights blink on the ground below and buildings appear as silhouettes in the far background. The Uber Air flight lands in Santa Clara on Uber’s skytower with a total travel time of 18 minutes — compared to an hour or more driving through rush hour traffic. Multi-floor docking will allow Uber Air to land up to 1000 eVTOLs (those futuristic-looking vehicles that hover, take off and land vertically) per hour.
At the Uber Elevate Summit, attendees had the opportunity to experience a full flight inside a built-out physical cabin via a high-fidelity four-minute VR installation. After the Summit, the installation will travel to Uber events globally. Still images and social media content will further extend the campaign’s reach.
Uber Elevates head of design, John Badalamenti, explains, “We worked shoulder-to-shoulder with Bipolar Studio to create an entirely photoreal VR flight experience, detailed at a high level of accuracy from the physics of flight and advanced flight patterns, down to the dust on the windows. This work represents a powerful milestone in communicating our vision through immersive storytelling and creates a foundation for design iteration that advances our perspective on the rider experience. Bipolar took things a step beyond that as well, creating Airborne, our centerpiece 2D film, enabling future Uber Air passengers to take in the breadth and novelty of the journey outside the cabin from the perspective of the skyways.”
Bipolar developed a bespoke AI-fueled pipeline that could capture, manage and process miles and miles of actual data, then faithfully mirror the real terrain, buildings, traffic and scattered people in cities. They then re-used the all-digital assets, which gave them full freedom to digitally scout the city for locations for “Airborne.” Shooting the spot, as with live-action production, they were able to place the CG camera anywhere in the digital city to capture the aircraft. This gave the team a lot of room to play.
For the animation work, they built a new system through Side Effects Houdini where the flight of the vehicle wasn’t animated but rather simulated with real physics. The team coded a custom plugin to be able to punch in a number for the speed of the aircraft, its weight, and direction, then have AI do everything else. This allowed them to see it turn on the flight path, respond to wind turbulence and even oscillate when taking off. It also allowed them to easily iterate, change variables and get precise dynamics. They could then watch the simulations play out and see everything in realtime.
To bring this to life, Bipolor had to entirely digitize San Francisco. They spent a lot of time creating a pipeline and built the entire city with miles and miles of actual data that matched the terrain and buildings precisely. They then detailed the buildings and used AI to generate moving traffic — and even people, if you can spot them — to fill the streets. Some of the areas required a LIDAR scan for rebuilding. The end result is an incredibly detailed digital recreation of San Francisco. Each of the houses is a full model with windows, walls and doors. Each of the lights in the distance is a car. Even Alcatraz is there. They took the same approach to Santa Clara.
Bipolar rendered out 32-bit EXRs in 4K, with each frame having multiple layers for maximum control by the client in the comp stage. That gave them a ton of data and raw number of files to deal with. Thankfully, it wasn’t the studio’s first time dealing with massive amounts of data — their internal infrastructure is already setup to handle a high volume of data being worked on simultaneously. They were also able to use the SSDs on their servers, in certain cases, for a faster time in rendering comps and pre-comps.