Lytro Reveals Immerge 2.0 Light-field Camera with Improved Quality, Faster Captures, by Ben Lang

Lytro’s Immerge light-field camera is meant for professional high-end VR productions. It may be a beast of a rig, but it’s capable of capturing some of the best looking volumetric video that I’ve had my eyes on yet. The company has revealed a major update to the camera, the Immerge 2.0, which, through a few smart tweaks, makes for much more efficient production and higher quality output.

Light-field specialist Lytro, which picked up a $60 million Series D investment earlier this year, is making impressive strides in its light-field capture and playback technology. The company is approaching light-field from both live-action and synthetic ends; last month Lytro announced Volume Tracer, a software which generates light-fields from pre-rendered CG content, enabling ultra-high fidelity VR imagery that retains immersive 6DOF viewing.

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How VR-Like Immersive Experiences Can Be Produced For Real Screens, by Seth Porges

The appeal of VR content lies in its ability to endow the viewer with a sense of agency and a sense of immersion. Well-executed experiences completely surround the audience, with no bezels or screen borders to remind them they aren’t actually in some far-off world.

Which is why I was so impressed by The Dome, an all-encompassing theatrical experience that has been popping up at recent iterations of the Panorama and Coachella music festivals. Think: A planetarium on steroids, where visitors are free to look around and immerse themselves in an environment, without actually being bogged down by a physical VR headset.

“The 180-degree screen surrounds the audience with up to 25 million pixels in each frame,” says Bobo Do, creative director for Dirt Empire and co-writer and co-director of The Ark. “To give a sense of how big that is, standard HD is a little more than 2 million pixels. So the visual fidelity is much better than any VR set available today, by an order of magnitude.”

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How One Company Is Using Virtual Reality To Inspire Exploration Of Remote Areas, by Zach Johnston

SOLFAR TECH/SHUTTERSTOCK

Uproxx knows that science, technology, engineering, and math (STEM) disciplines are driving the future of this planet forward. Every day, we see new ideas, fresh innovations, and bold trailblazers in these fields. Follow us this month as we highlight how STEM is shaping the culture of NOW.

At the intersection of technology and engineering, you’ll find Virtual Reality — the much-buzzed about tech that will eventually be so cool that we’ll all Matrix ourselves. These days, most VR is a static, stereoscopic film which allows you to visually explore a single spot. The future of VR is more than that. It’s a fully immersive experience in which you can run, jump, climb, swim, fly, study, and research through space and time.

In this new VR-era, Sólfar Studios is blazing the path. They’ve built a VR world where you can viscerally explore Mount Everest, right now. The Everest VR experience from their studio allows the VR user to feel the wonders of being at Everest’s base camp before actually climbing the mountain in real time. You can take steps, cross rickety ladders, and even leave offerings on Buddhist altars.

It is so immersive that even though you’re virtually standing on the precipice of a virtual cliff on virtual Everest, you end up with real vertigo (it’s true, we tried it).

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HTC Wants to Use Steven Spielberg’s ‘Ready Player One’ to Sell Virtual Reality to the Masses by, Janko Roettgers

JAMES GOURLEY/REX/SHUTTERSTOCK

HTC has entered a worldwide partnership with Warner Bros. to exclusively distribute virtual reality (VR) experiences for the studio’s upcoming “Ready Player One” sci-fi movie, which is being directed by Steven Spielberg and is set to be released on March 30, 2018. HTC Virtual Reality SVP Rikard Steiber told Variety that the partnership could be a break-through moment for his industry: “This movie could be defining VR to the broader public.”

“Ready Player One” is based on the Ernest Cline novel by the same title, which has been hailed by many in the VR industry as a seminal piece of writing about virtual worlds. “It is going to be an epic movie,” said Steiber, who’s had a chance to read the script.

Steiber argued that “Ready Player One” could help VR with what he called the “Matrix problem”: The medium is hard to describe to consumers who haven’t used a headset yet. “You have to take the pill to experience it,” Steiber said.

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Sony Pictures will stream live VR with Nokia’s Ozo camera, By Steve Dent

Despite its camera expertise, Sony is turning to Nokia for VR help.

Nokia made some great smartphone cameras back in the day, but we certainly didn’t expect that to lead to the Ozo, a $45,000, 360-degree 3D virtual reality camera. Now, the Finnish company will provide expertise and Ozo cameras to Sony Pictures, which will use them to create VR content. The studio will also take advantage of the Ozo Live VR broadcast capability “to transport fans to Sony Pictures events that they couldn’t otherwise attend,” the company wrote.

There are other VR rigs out there that can take higher-quality images. And it seems odd that a camera manufacturer with Sony’s professional experience would turn to Nokia, of all companies, for equipment and advice. However, Ozo does offer live VR broadcasting, real-time on-set Oculus Rift VR playback and rapid stitching from the eight cameras. With other systems, it can take ages to patch together multiple videos, meaning producers often have no idea what they shot until much later.

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Oculus’ VR painting app Quill will be released free next month, By Cat Ellis

Paint a story

Quill – a virtual reality painting app created by Oculus – will be available to download as a free beta in early December. The date coincides with the release of the Oculus Touch controller, which you’ll need to create your own VR illustrations in Quill.

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VR Review: ‘Fantastic Beasts’ Virtual Reality Experience, By Janko Roettgers

COURTESY OF WARNER BROS
COURTESY OF WARNER BROS

With its ability to transport you into another world, virtual reality can feel magical. The same has long been true for books and movies that capture our imagination with detailed otherworlds. So what better way to promote a movie like “Fantastic Beasts and Where to Find Them” that with virtual reality (VR)?

Warner Bros. has done just that with a new “Fantastic Beasts” VR experience, which was exclusively released for Google’s new Daydream VR headset earlier this month. The experience invites viewers to enter the study of Newt Scamander, the main character of the movie. Given that he had to leave for the U.S., he instructs the viewer to take care of three of the creatures he had to leave behind.

To do so, one has to trace a series of figures with a magic wand that is being controlled with the help of the Daydream controller as a way to visually draw spells in the air. There’s also a little bit of potion mixing involved, and one even has to grind down a few chubby roots with a mortar and pestle.

The experience was produced by Framestore, the same VFX studio that also worked on the visual effects of the actual “Fantastic Beasts” movie, which leads to a great level of visual detail throughout the entire experience. The study is crammed full with old books, scattered manuscripts and mysterious potions, and the beasts as well as their individual habitats themselves are truly impressive. Having a Thunderbird spread its wings right in front of you is quite a sight, to say the least.

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Explore the Red Planet in ‘The Martian VR Experience’ By Stephanie Mlot

Could you survive alone on Mars? PlayStation VR and HTC Vive owners will find out tomorrow.

“The Martian VR Experience,” a tie-in with Ridley Scott’s 2015 film The Martian, hits the VR headsets on Tuesday. Produced by Scott and directed by Maleficent’s Robert Stromberg, the interactive game puts viewers into the space suit of Mark Watney—a fictional American astronaut left for dead by his crew during an emergency departure from the Red Planet.

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National Geographic VR Experience Let Me Land And Walk On Mars, By Tony Bradley

Ben Cotton as Ben Sawyer the American mission commander and systems engineer on the Daedalus. The global event series MARS premieres November 14 at 8/9c in the U.S. and internationally Sunday November 13 on the National Geographic Channel. (photo credit: National Geographic Channels/Robert Viglasky)
Ben Cotton as Ben Sawyer the American mission commander and systems engineer on the Daedalus. The global event series MARS premieres November 14 at 8/9c in the U.S. and internationally Sunday November 13 on the National Geographic Channel. (photo credit: National Geographic Channels/Robert Viglasky)

There are few things as universally exciting and inspirational as exploring space, and few organizations capable of sharing the thrill of space exploration the way National Geographic can. I had the privilege of attending the premier screening event for the upcoming Mars miniseries, and had the unique opportunity to experience a little of what it might be like to land on or walk on the surface of Mars.

There is an unprecedented brain trust involved with the production of the Mars series. The series was inspired by the book ‘How We’ll Live on Mars’ by Stephen Petranek. Producers Brian Grazer and Ron Howard collaborated with National Geographic and a team of experts including Dr. Robert Zubrin, founder of the Mars Society, former US astronaut Dr. Mae Jemison, and more.

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Doug Liman to Adapt Indiana-Jones-in-Space Adventure ‘Unearthed’, By Charles Bramesco

Universal Pictures
Universal Pictures

The sci-fi/military fusion Edge of Tomorrow was that rarest of gifts when it debuted back in 2014, a masterful action picture with an original high-concept angle and a whip-smart script. Hollywood then scrambled to find something for director Doug Liman, a clearly skilled orchestrator of large-scale setpieces, to do with his talents. First order of business was getting him back together with his Edge of Tomorrow star Tom Cruise (their new collaboration, American Made, comes to theaters on September 29 of next year), and following that, Liman’s choice was “do everything.” He signed on for the Gambit solo picture and then bailed, agreed to bring YA dystopian franchise Chaos Walking to the screen, made plans for a Edge of Tomorrow sequel, and inked a deal to direct DC’s “Dark Universe” picture after Guillermo Del Toro dropped out.

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