Not that I usually relay Apple's communications, but it is always interesting to see where they put their money. I am not surprised of their conclusion as AR seems to be way more easily deployable than VR. It's pretty much there already, no fancy hardware or resource demanding software required. Just ideas for execution and a few technological tweak along the way.
And Niantic Labs projects, among others, already showed the huge potential of AR when it comes to entertainment (as a whole, because in today's world, I do count information as a form of entertainment)
For now, it looks like the perfect step ladder to the richer and deeper Lego Mindstorms.
Lego has been flirting with the maker movement in many ways, but they had not yet a kit for young children on their own.
They do now as the brick maker unveiled a 543-piece Lego setat CES in Las Vegas that seems to both affordable and accessible for those who won't to play with Lego robot without going to deep (yet) into coding.
"The Lego pieces are all traditional and you can even use your existing Lego set pieces with it and the coding is largely confined to code-blocks that already have lots of instructions baked in and fully compiled."
The only downer is that the companion app only seems to be available for iPad (for now?)
Hayao Miyazaki : « Beaucoup de mes films comportent des personnages féminins forts. Des filles courageuses et indépendantes. Elles auront peut être besoin d’un ami, ou d’un soutien, mais en aucun cas d’un sauveur. Les femmes sont capables d’être de vrais héros, tout autant que les hommes. »
J'adore les créations du studio Ghibli pour de nombreuses raisons: de la richesse des thèmes abordés à la profondeur des personnages - mais cet article met le doigt sur quelque chose que je n'avais pas "intellectualisé" et qui me fait aimer leur travail encore plus.
Solitaire and Tic-Tac-Toe are two of the most well-known games in existence, and today Google has made it even easier to play them. If you boot up the Google Search app on your mobile device or go to Google on the web, you can play the two games directly in Google Search.
I tried them briefly and the solitaire sound design is crap, but it's ok as you don't really mind the sound while playing solitaire :)
There are no options other than "hard" and "easy" so you are playing with a 3-cards option - the real thing.
There isn't any "smart" feature such as double-tap to move a card, but once again, it does the job.
Tic-Tac-Toe is a very childish and non-interesting game to me no matter what the devs do. With AI, you start first every time, giving a serious lead.
In 'Medium', I won all of my 4 or 5 games and the other options was 'easy' and 'impossible' - the latter highlighting how useless this game is for grown-ups :)
You have the ability to 'play with a friend' - which is just in fact the very same interface with AI off. So you could play it on your won if Solitaire ain't your thing and you want to try to trick yourself ;)
I wish they add dominoes or some other slightly more interesting classic games.
Codex Silenda is [a] five-page book that features thick wooden pages, each of which has an intricate puzzle attached to it. In order to read the book, readers must solve each page’s puzzle before the next page will unlock.
The wooden book seems beautifully crafted.
In this book, it is not necessary the story that deserves to be reviewed, because as the designer puts it, it could be changed to something more "custom built" and personal.
The kickstarter campaign is still running for 20 days and even though most rewards are sold-out, you can still pledge for the blueprints files in case you have access to a laser cutting machine yourself - and don't fear assembling the whole thing on your own :)
Though the title is pretty self-explanatory, the online game allows users to pick their favorite Sesame Street characters (clad with combat friendly headbands, gloves, and capes) and duke it out in 8-bit glory a la Street Fighter.
In typical Sesame Street fashion, though, this is a learning game. You have to type words as fast possible to hit your rival, and the vocab gets more tricky as you level up. Though this might not be shared in elementary schools any time soon, this is exactly how we imagined a really bad fight between Bert and Ernie.
Experience & puzzle designer Steve Peters (http://www.stevepeters.org/) reflects on the challenge of pacing digital content production and broadcast timeline in the light of the recent kickoff The Runner, an ambitious project by Matt Damon & Ben Affleck on July 1st.
It is said to air "Three times a day. Every day. For THIRTY Days." and viewers / layers "might" win prize money. Just watching the trailer, I particularly like the fact that Peters recenters the discussion on pacing:
'The first thing I thought when I heard about it was “Holy crap, I’m glad I’m not on that production team! It must be hell!” They need to assemble a new episode three times a day. Every day. For thirty days. The production schedule must be nuts. Nobody can be getting any sleep. It’s madness. Now, I’m going to set aside critiquing the game itself (and there’s plenty to critique, believe me) for the sake of this article, as I just want to look at this idea of pushing content three times a day. Every day. For thirty days
... to conclude:
"So do yourselves a favor, all you digital content creators out there. Don’t succumb to the “more is better” way of doing things. Not only will the quality suffer, but your audience will shrivel away under the onslaught. Be strategic with your pacing and audience engagement. Don’t pare your potential audience down to a small sliver right out of the gate by giving them more than they can consume. In short: turn off that goddamned hose!"
“I think that, we hope to end up with a model where, potentially there could be a cost-per-visit type model where large brands and small brands, as well, could sponsor different elements of the game, with the end of interacting with players and really tapping into that enthusiasm of players,” he told the publication in 2014.
So Pokemon GO took the world by storm last week. The game is NOT Nintendo's creation as it is ex-Google's Niantic Lab that developed it and run the servers.
Niantic Lab was able to leverage on the Ingress IRL game that was already emphasizing on marketing potential (partnering with Jamba Juice for energy refill for example)
one of the most anticipated video parts in the history of skateboarding is scheduled for a July 11 premiere on Vogue.com.
Rodney Mullen is one of the most influential and creative skateboarders of all time. He's been away for too long, and today he is back in a video shot by videographer Steven Sebring with his system made of 100 cameras.
Since forming in Montesano, Washington in 1984, the group – rounded off by drummer Dale Crover and a constantly revolving door of bassists – have released a staggering 25 studio albums, 14 EPs, 12 live albums and 10 compilation records and have never settled on one idea for too long.
“I rarely know what people want but that doesn’t bother me too much”, says Osbourne. “The fact is, I would never have been happy doing the same thing over and over again. That wouldn’t have been me. Plenty of other bands could have gone down that line too, I just don’t think they had the guts to do it. But I’m not afraid. “You just have to keep doing what you’re doing and not concern yourself with the fact that maybe not everybody is on board with what you’re doing right now”, he adds. “If I started worrying about what people were going to like, I think I’d miss the boat; I’d be completely off base with what I was doing and I think it would be a complete failure. I’ve always thought that’s a mistake, and I’m certainly not going to change now. I don’t think I’m wrong either.”
I wish more musicians and artists in general had the balls to go down that road despite the fact that I've seen the Melvins many times - and once I got out of the venue pissed at them because I hated it. Then I went again anyway a few years later. It was then all punk intensity and I loved it, even though it wasn't what got me into The Melvins in the first place. They f*cking rock!
The Phab 2 Pro is a smartphone with a big screen and a 3D camera that enables a set of virtual reality and augmented reality experiences by allowing you to scan your environment and mix digital items with your real-world environment, using Googles Tango technology
Lenovo just announced the release of the first smartphone using Google Tango's depth-sensing tech.
It is a very promising step toward more Augmented Reality features.
The film festival just ended with a custom show called The Bomb which blew some minds with live music and immersive screening.
Earlier this year at SXSW, I met Brazilian film director Ricardo Laganaro who worked on the beautiful semi-spheric experience at the Rio's Museum of Tomorrow. He was also convinced that VR headset were killing the social bond and that other directions integrating a common experience should be explored.
We just had a review pop up a few days ago, and the reviewer basically opened by saying that he can be pretty finicky about survival games because he’s a wilderness survival instructor. He said our game models actual wilderness survival the most closely and accurately of anything he’s played. That’s great praise for me. That made me so happy, because that was the intent. When we hit it, people who know this stuff are like, “Whoa, I recognize this. They did it correctly.”
the game creator admit that they part from real survival techniques at times when it was necessary for design / entertainment reasons - yet this seems like a legit way to learn a thing or two while having fun.
In providing of the cloud infrastructure that underpins Pokemon Go, Google has seen the thirst for virtual and augmented reality firsthand, and now, with Improbable, it hopes to push even further into this burgeoning market.
"You can think of SpatialOS as a cloud computing service for building virtual worlds, whether they run on desktop computers or VR rigs like the Oculus Rift. This service runs atop the Google Cloud Platform, the tech giant’s growing cloud computing empire, and the two companies just opened a SpatialOS alpha program that lets coders prototype and test their own virtual worlds. [...]
As developers build more complex virtual worlds, this provides AI researchers with better ways of training the next generation of artificial intelligence. Games have long offered a proving ground for AI, but SpatialOS can help expand this proving ground, providing a way not only for AI agents to learn the successor to Second Life, but to navigate real city streets or even trace the path of contagious disease."
Then I read the part where "Otto, the robo-vehicle company owned by Uber, is training AI agents on Grand Theft Auto as a stepping stone to more advanced self-driving cars" and I FREAKED OUT ;)
a new technique from MIT's Computer Science and Artificial Intelligence Lab could make augmented reality apps like Pokémon Go more interactive, by allowing what's happened virtually to appear to affect what's happening in the real world.
The demo is very impressive, but I'd like to see how easy it is to tweak the physics... because at no time they mention the way you assign weight and other physical properties to the item you integrate in the shot.
So there might be room for improvement, but this is a great start already!
When 360° videos make sense? How and where a 360° video should be applied and the significance of the all-round image for the storytelling aspect?
The author has obviously played around with all-round video production for quite some time. And even if most of the tips he mentions are common sense for whoever started playing in this field, it's good to articulate the knowledge as we are just scratching the surface in this field.
"360° films almost exclusively consist of a sequence of a few sedately and consecutively distanced venues (scenes). The viewer needs time to discover the 360° setting. [and] are completely unsuitable for contents and stories requiring a fast change in scene, rhythm or the accurately controlled localisation of information and emotions through changes in setting dimensions."
"360° videos strive far more for authenticity than others genres are able to. 360° films already find their final form, their structure and their rhythm during their recording and not only in subsequent image processing."
"a 360° film would be the wrong medium whenever a viewer cannot visually capture and understand the contents, values or product benefits as an external manifestation at first glance."
"If graphics [close-ups], interviews or testimonials are relevant for the success of informational or emotional transportation, 360° films will reach their limits"
"In addition to the careful selection of the filming location and camera movements, contextually demanding 360° films also use the movement of people in front of the camera to stage the viewer experience. While moving the 360° camera and during movements in front of the 360° camera, the utmost care must be taken to ensure that the movements are always carried out within the safe, recordable corridor. The corridor around the 360° video camera indicates the area in which the subjects or objects in front of the camera are neither distorted (because they are too close to the camera) nor too small (because they are too far away) when filmed."
"Staging and storytelling in a 360° film can also be significantly supported at the sound level. [but] This is (still) impossible for Facebook, YouTube and Apps. In this regard, 360° videos currently still lack one of the most important tools for dramaturgical viewer guidance."
Part 3 on documentation will be available in English next week.
Set inside their home, a beloved hatchback, Pearl follows a girl and her dad as they crisscross the country chasing their dreams. It’s a story about th
Despite the basic 3d graphics, the "vibe" is there. This is a very moving piece and there are interesting gimmicks addressing the editing-in-VR issue.
In the meantime, Allumette from Penrose Studios seems to be carrying lots of emotions while addressing the graphics issues, adopting an art direction that takes into consideration the computing capacities of our time period AND serves the story.
There’s no denying that video is increasingly consumed in vertical, rather than horizontal format — think smartphone apps like Snapchat — to the dismay of some purists. “There is a question about vertical video’s potential,” says Aubert. “People are consuming on their phones, so they could be looking for vertical content. But content is distributed on all screens now. Every kind of creativity is interesting, it’s a new form of storytelling.
But as video players adapt to this new way of filming the very same way they slowly but surely switched from 4/3 to 16/9, it invalidate the letter boxes issue, making it a legit form of narration by framing. The IMPACT video perfectly illustrates this point.
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