Chocolate Brings You ‘Ridiculous Joy’ Through Music, Dance, and Cats

Chocolate Brings You ‘Ridiculous Joy’ Through Music, Dance, and Cats

Tyler Hurd is quickly becoming known as the “weird VR guy.”

The young virtual reality filmmaker first broke onto the scene with Butts — which is a hilarious and whimsical musical romp about exactly what you think it is. His followup to that was Old Friend — another musical that combined hilariously animated characters, over the top colors (heck, over the top everything), and music that won’t leave your head no matter how hard you try.

Hurd is currently attending this year’s Sundance Film Festival where he is debuting his latest piece called Chocolate. It’s a gritty, in-depth look at what happens when money, status, and pride become more important than the people we hold dear. Nah, just kidding, it’s about shooting cats out of your hands.

Describing Chocolate to people that have not seen it may get you a one way ticket to a nice, quiet, rubber padded room. You take the role of a slightly robotic ancient deity surrounded by your tribal worshipers. The music begins and they dance. They dance to earn your favor so that you might bestow upon them that which they crave the most: cats, lots and lots and lots of cats.

Once the tribal dancing has adequately pleased you, your hands will become Mega Man-esque cannons that begin to fire scores of cuddly, adorable cats into the air. This happens automatically on the beat but the position of the cats launch is determined by where you’re pointing the Oculus Touch or Vive controllers at that moment. There are a few other surprises in store for you inside the world of Chocolate but we’ll let you discover those yourself.

The entire thing is exactly as insane as it sounds but that’s what makes Hurd’s work amazing. In an interview with UploadVR, Hurd explained the he originally conceived of this ideas while listening to the song Chocolate by EDM artist Giraffage. The synth in the song made him think of cats and the strong beats led him to a tribal setting.

Hurd was then asked what it is he thinks ties all of these seemingly random works of VR art together. “I love when I show people something I’ve made and they just have to laugh,” explained Hurd. “People come up to me and say this makes me so happy, this is a happy maker and that’s just perfect…I’m trying to get people to that place of joy, that ridiculous joy…my focus is on characters and animation so I try to use that to just make people giggle like a child. If I’ve done that then I’ve won. If they’re smiling, they’re happy.” 

Though previously a solo act, Hurd was able to make this latest piece thanks to a investment from Viacom Next. With that additional capital he was able to bring in some fresh talent including an artist from Adventure Time to design some of the characters, a character modeler from Double Fine Studios, and a visual effects designer from Blizzard. Hurd’s previous works have taken him up to nine months to complete. Chocolate was finished in only six.

 

Hurd says that he is planning to release Chocolate to the public in “the next few months” and that the responses he’s been getting at Sundance to the undeniably unique creation have been “overwhelmingly positive”.

Hurd says he will continue to work as a VR artist and wants to keep making pieces that give people that “ridiculous joy”.

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Film Created Almost Entirely In ‘Tilt Brush’ Imagines The Future Of Music

Film Created Almost Entirely In ‘Tilt Brush’ Imagines The Future Of Music

Artist Adam Dylewski is the creator of a new short film that was created almost entirely inside virtual reality.

The Future of Music is the name of the innovative new short. It follows a protagonist by the name of “Sara” — a working musician living through what it might be like to be a creative decades in the future. According to Dylewski, he wanted to create a project that uniquely took a look at the way technology, art, music and creativity are all intersecting in a world that continuously redefines what it means and what it takes to make music.

“I made this sci-fi short to look at how VR, crowdfunding, remix culture, the death of the major record labels and super high-speed internet might transform the world of music in the next 20 years,” wrote Dylewski in an email to UploadVR.

Tilt Brush is a Google-created virtual reality art application that lets users draw, paint and design three dimensional masterpieces with their own two hands in an immersive digital space. This means that every frame in The Future of Music was hand-made individually by Dylewski.

This entire piece, and the statements that it is attempting to make about the future of creativity are important subjects for VR enthusiasts or general technophiles to consider. It’s also a interesting use of a program that has already been mined for use by thousands of other artists. We’ve seen artists use Tilt Brush in the past to create music videos, for example, but nothing quite like the speculative future Dylewski is trying to explore here.

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Art Roundup: Hulk Smash! Virtual Reality Sculpture Shows Off Something Incredible

Art Roundup: Hulk Smash! Virtual Reality Sculpture Shows Off Something Incredible

Welcome to UploadVR’s weekly art roundup! This is our chance to showcase some of the most impressive virtual reality creations we’ve found from around the web in one convenient list, embedded below using Sketchfab. The entries you are about to see were made in virtual reality using one of several art applications such as Tilt Brush, Oculus Medium, Quill or Gravity Sketch. This means that the artist used their hands to physically draw, paint or sculpt the masterpieces below. We hope you like what you see!

Hulk Sculpt Sketch – Oculus Medium

Fishing Boat – Tilt Brush

Angryfox – Quillustration

Spaceship – Gravity Sketch

 

 

What about you? Are you a VR artist on the rise? Send us a Tweet @UploadVR and you just might see your own creation featured in next week’s list!

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Meet Your New President: Photorealistic Trump Takes Office in VR

Meet Your New President: Photorealistic Trump Takes Office in VR

One of the best things about virtual reality is its ability to transport us to locations we would otherwise never be able to experience. This could be the surface of Mars, the top of Mt. Everest or, for me, just about any modern roller coaster (those height limits need to be amended I swear). Today, one more out-of-the-way locale is being brought into the realm digitally accessible tourism: President Trump standing in the oval office of the White House.

That’s right, the seat of American power has been recreated with photorealistic detail in a new virtual reality program for the HTC Vive. Users can strap on their headsets and find themselves standing where few men have lived to tread. Oh, and there’s one more surprise waiting inside as well: President Trump himself.

This entire piece is titled Wide Awake and it was created by MacInnes Scott — a firm that specializes in what they call “the future of performance”.

Wide Awake was created using a unique digital process that MacInnes Scott calls “maximum resolution”. According to the studio “MacInnes Scott’s proprietary digital human ‘maximum resolution’ replication system utilizes HTC Vive’s room scale and Epic’s Unreal engine to render the character and environment in real-time 3D.”

According to MacInnes Scott, Wide Awake‘s overall narrative is as follows:

“It’s 2AM in the Oval Office.  The phone is ringing but nobody is picking up. President Trump is vigilant  against the encroaching darkness. His focus is intense. Is he leaning against his desk in contemplation, or pushing off towards an unknown future? “

This particular installation was made using a Trump body double that was scanned using photogrammetry. That base avatar was then painstakingly sculpted and fine-tuned by the artists at MacInnes Scott to create the hyper realistic figure you can see above. No detail was overlooked down to the pores on our latest president’s nose.

This type of meticulously crafted realism is becoming a hallmark of MacInnes Scott’s VR work. It is releasing Wide Awake now on Vive for free through the Viveport content service. It will also be making a music piece titled Grace and a Navy SEAL experience available soon as well.

Readers in the greater New York area will also be able to see Wide Awake at the VR Society’s Art In VR exhibition with Sotheby’s in New York City this June.

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‘Dear Angelica’ Made Me Cry

‘Dear Angelica’ Made Me Cry

“Finding the language of VR is our role,” writer/director Saschka Unseld tells me as I sit with pen in one hand and tissue in the other, decompressing from my time inside Oculus Story Studio’s (OSS) Dear Angelica. “Nailed it! And how many tears does it take to void the warranty on a Rift?,” I quip.

Dear Angelica is OSS’s third visual story, but it’s by far the deepest, most poignant, and best use of the VR platform from the studio to date. It’s a very personal narrative — but also one that focuses on universal themes — highlighting the emotional bond between child (Jessica, voiced by Arrested Development’s Mae Whitman) and mother (Angelica, voiced by Geena Davis).

I won’t get into the details of the story so as to not spoil anything, but I will say it was so intimate that I couldn’t help but think there was something specific in Saschka’s own life that compelled him to explore these themes. “I thought about how the stories I told came from the things my parents taught me,” Saschka pauses before finishing his thought… “It gives what stories you tell greater importance.”

The experience starts in Jessica’s bedroom, with the teenager nestled in her bed writing to her mother. Loopy script appears in the vast space overhead. I’m peering over Jessica’s shoulder as she writers, and I feel like a ghostly interloper invading her private sanctuary as she shares her most cherished thoughts and feelings.

The narrative unfolds as vibrant illustrations by artist Wesley Allsbrook envelop me, teasing my eyes to dance around the scene. The ribbon-like strokes promote a sense of movement and chaos reminiscent of van Gogh and Hokusai. It makes me feel as if I’m walking through a series of frantic, fluid paintings as they’re being created, and I’m enthralled as I take it all in. Some scenes are harried and frenetic, others sedate and calmly introspective; the varied drawing pace complements the voice-over to create a synchronized emotional timbre.

‘Gravity Sketch’ Launches Limited Beta for Rift and Vive

‘Gravity Sketch’ Launches Limited Beta for Rift and Vive

Virtual reality has been a hotbed of artistic innovation ever since Google blew our collective minds with Tilt Brush. Since that award-winning product hit the market the field has grown to include Quill, Oculus Medium and a handful of other notable creation programs. Each of these has its own interesting mechanics and artistic sensibilities, and now one more player is entering the game.

Gravity Sketch is one of the newer VR art experiences, but it is already generating a good amount of buzz for the unique work it is able to produce. Tilt Brush, Medium and Quill are sometimes recognizable for their cartoonish graphics, but Gravity Sketch doubles down on realistic visuals and dynamic lighting effects.

Interest in Gravity Sketch may be high, but access so far has been very limited. The company has only made the program available to a very small group of early testers. Now, however, it is finally ready to expand that pool.

According to an email from Gravity Sketch:

“After extensive testing with a small group of amazing VR artists we are at a place where we feel comfortable opening access to the public. We are on-boarding a limited number of users but open to any one with a Vive or Oculus to join Steam. In an email, Gravity Sketch explained why it is keeping its beta so limited and why the Steam version is taking longer:

“We are a pretty user driven team, we put the UX as top priority. We got really close to launch and were about to go live on Steam Early Access but there are a few things we feel we just didn’t get right yet. This decision was made on the back of the months of learning we got from our Private beta guys.

We will get a few more people onboard from more of a diverse background to really bullet proof test some of the launch features we have been working to perfect. By staying beta we can regulate how many people we onboard and can have a much closer relationship with the community. We grow the beta team a bit more then close it and do another round of user testing and feedback before Early Access.”

Good luck and happy creating!

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Prolific VFX Artist Kevin Mack Brings Surrealist Sculpture to Life in ‘Blortasia’

Kevin Mack is a digital fine artist and prolific visual effects designer known for his work across films such as Fight Club (1999), A Beautiful Mind (2001), The Fifth Element (1997), and What Dreams May Come (1998) for which he won an Oscar. Outside of supervising VFX for big budget Hollywood films, Mack creates abstract surrealist art, realizing them as 3D printed sculptures, 2D renderings, and now through his newly founded VR production house Shape Space VR, immersive virtual reality experiences that let you explore his strange and beautiful globular creations up close and personal. Enter Blortasia.

Blortasia is his second public VR art piece, arriving a few months after the pre-rendered 3D 360 video Zen Parade for Gear VR. Created for HTC Vive and Oculus Touch, Blortasia is a real-time VR experience that lets you fly in and around the abstract sculpture using either system’s hand controllers, and letting you freely explore the universe’s undulating, cavernous structure in the skyAccording to Mack, Blortasia is an exploration of virtual reality as an aesthetic medium, one that is necessarily unconstrained by the limits of ordinary reality.

Accompanied by a calming soundtrack, I can’t help but feel a deep relaxation as my brain goes on autopilot while I watch the living, breathing lava lamp before me. Like watching clouds, I see faces, hands, objects—a neurological illusion thanks to a phenomenon called Pareidolia. I exit Blortasia a little more refreshed than I went in, a little more aware of my physical world outside virtual reality.

Even the platform below your feet shifts in color and shape
Even the platform below your feet shifts in color and shape

To learn more about the nuts and bolts of the experience, I spoke with Kevin Mack about how it was made.

Mack tells me that among custom-made animated shaders for Unity and other techniques created by himself, Blortasia was built using tools and rule-based procedural systems in Houdini, a procedural content creation software from SideFX.

The results, Mack says, are a type of “directed randomness that are hybridized and seeded with manually created elements.” So while Blortasia’s textures aren’t entirely random, but are rather derived from images painted by Mack in Photoshop, Blortasia obeys what he calls “a natural system where the rules of nature are aesthetically defined.”

This means that the starting structure of Blortasia is fundamentally always the same, but it undulates over time and is painted with different colors that are recalculated when you start the experience, something that makes the sky-bound creation appear different each time you visit.

But what about the name, Blortasia?

Mack told me it was named after the self-coined word ‘Blort’, an acronym deriving from the process that he used to create the otherworldly sculpture. Blort stands for “blobs that have been rotated, translated, and scaled.” Whether the neologism catches on or not, one thing is for sure: Blortasia is exactly what virtual reality was intended for—bringing to life something vibrant and alive that would otherwise be impossible in our daily physical reality.

‘Blortasia’ on Steam

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