Fri, 7 July 2017
Like Chris, Marientina Gotsis spent her childhood in Greece, growing up on a very limited TV diet of imported American shows and old movies. And, like Chris, Marientina has a strong interest in virtual reality, and how computer-generated experiences can help us experience the real world.
Coming from an artistic background, Marientina worked on the University of Illinois’ CAVE (Cave Automatic Virtual Environment) in the mid-90s, a 3D-projected space which could simulate environments, and served as a precursor to modern VR. As tech got smaller and smarter, Marientina created a game-based experience to help people understand cognitive development, and used VR to treat ADHD and physical therapy
Marientina is a fascinating interviewee who has a sound theoretical understanding of VR and gaming, and how they can be used as real-world therapies. It’s an engaging discussion which covers everything from depictions of genocide in videogames, to the sky in different cities, to the perfect movie for 3D.
Sun, 25 June 2017
The Immersive Reality in Architecture conference, which took place in Venice earlier this month, focuses on the application of VR and AR in the world of visualization and design. This panel discussion, led by CGarchitect’s Jeff Mottle, tackles the pros and cons of these emergent technologies.
CG Labs’ Chris Nichols, and Chaos Group’s CCO Lon Grohs are among the guests, as well as Patricio Navarro (ArX Solutions), Luciana Carvalho Se (Realities Centre London), Dan Harper (Cityscape), Christiaan Klaassen (DBOX) and Scott DeWoody (Gensler). It’s a candid chat about the ways architects use VR, the practicalities of programing experiences, and how consumers and companies such as Apple are shaping the future of the medium.
Sun, 12 February 2017
Visual effects artist and supervisor Daniel Trbovic hails from former Yugoslavia, where he learned 3D Studio on a 386 computer in the early 90s. He then ventured to Portugal, where he created a surprisingly long-lived lotto jingle, restored old movies about Lisbon, and added noxious gasses to sci-fi movie “Low Flying Aircraft.”
In the United States Daniel spent time at Real FX in Dallas, did two long tours at Blur, and spent time at ILM where he worked on “Lucy,” “Avengers: Age of Ultron,” and “Terminator Genisys” He also took a year out to record an album. In his new role as founder and creative director of Gone Coyote VR, he’s investigating how VR can deliver experiences rather than stories. Daniel’s enthusiasm and knowledge is astounding, and his thoughts on VR tie in neatly with those of Kevin Mack, with their passion for Art and VR.
Sun, 22 January 2017
Kevin Mack’s skill lies in applying scientific theory to three dimensional art and visual effects. He shared an Oscar for his VFX in “What Dreams May Come,” used computer algorithms to create the neural pathways of Edward Norton’s brain in “Fight Club,” and, more recently, 3D printed seemingly impossible organic forms. Now, Kevin’s mashing science and art in virtual reality with two titles: “Zenspace” for Samsung’s Gear VR, and “Blortasia” for HTC’s Vive from his new company Space Space VR
In his second podcast with Chris, Kevin talks the creation of his VR experiences, and how he’s been helped by the indie games industry. He also gives his thoughts on how virtual reality fits in with games and films: VR, he argues, is a medium which engages our senses of space, presence, and our vestibular system, and conventional storytelling or gaming mechanics can distract from compelling VR worlds. It’s a deep and engaging listen which raises some important and even existential questions.
ShapeSpaceVR, Kevin’s company [http://www.shapespacevr.com/]
“Blortasia” on Steam [http://store.steampowered.com/app/497450/]
“Zen Parade” on Oculus Store [https://www.oculus.com/experiences/gear-vr/442303342561096/]