NVIDIA Announces ‘RTX’, Real-Time Ray Tracing Engine for Volta GPUs

NVIDIA today announced RTX, a GPU accelerated technology capable of producing photo-realistic imagery through realtime ray-tracing, all accelerated on the company’s latest generation of Volta GPUs.

Modern GPUs are capable of creating some pretty spectacular realtime imagery these days. Today’s gamers demand a level of visual fidelity unimaginable 10 years ago outside of dedicated 3D render farms, tasked with Hollywood-grade visual effects. And yet, for the most part, even the best looking games available today look as good as they do by utilising a series of rendering shortcuts that produce extremely convincing approximations of how we perceive the world around us, and no matter how good or precise those approximations get, there’s still something lacking.

Photo: Remedy Entertainment

Enter Ray-tracing, a method of calculating 3D scenes which mimics how we as humans perceive the world around us, or more specifically, how the light in our world is perceived by us. It’s a technique that has been around as long as 3D rendering itself, and works by painstakingly calculating beams of light from a source to its destination and how that beam bounces off, permeates through and is occluded by, objects in a scene. The upside of Ray Tracing is that, given enough time and computational power, resulting scenes can be indistinguishable from reality (or virtual reality).

The snag is of course, that calculating all of those light beams is extraordinarily compute intensive, such that any single scene could take many minutes or even hours to render an image which would please or fool the human eye. And until recently, even modern GPUs struggle with the level of number-crunching required to pull it off, but NVIDIA today announced RTX a “highly scalable ray-tracing technology running on NVIDIA Volta architecture GPUs,” that’s been “Architected to support ray tracing through a variety of interfaces.” One of those interfaces is Direct X’s Ray Tracing API DXR, which was also announced today by Microsoft at GDC 2018.

Photo: Remedy Entertainment

“Real-time ray tracing has been a dream of the graphics industry and game developers for decades, and NVIDIA RTX is bringing it to life,” said Tony Tamasi, senior vice president of content and technology at NVIDIA. “GPUs are only now becoming powerful enough to deliver real-time ray tracing for gaming applications, and will usher in a new era of next-generation visuals.”

For the moment, details are a little scant on how NVIDIA has managed to square the computational circle of real-time Ray Tracing, but for the moment at least a portion of the puzzle is tied up inside the company’s latest GPU architecture Volta, which the company has said includes a hardware “ray tracing engine”, although it seems much is offloaded in software to the hardware’s CUDA cores. The APIs and tools for developers to begin to leverage this new rendering engine will make their way into a new release of the company’s proprietary SDK Gameworks. NVIDIA is expected to unveil it’s Volta-based 20xx series GPUs at its own event, GTC 2018, next week.

As to when we’ll actually see applications or games utilising RTX and DXR, seems likely to be quite some time. Although (as you can see from the video embedded on this page) some developers have been able to integrate the new APIs already, with Remedy Entertainment (Max Payne, Alan Wake, Quantum Break) producing an impressive tech demo via the company’s Northlight game engine. For VR of course, advances in photo-realistic rendering have obvious implications, although quite when GPU power can scale to VR Ray-tracing boggles the mind.

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Kaleidoscope VR on the Funding Landscape for Cinematic VR

rine-pinnellAfter talking to a lot of independent VR storytellers, Kaleidoscope VR’s René Pinnell identified that funding was one of the biggest blockers for continued experimentation. Cinematic VR pieces do not have many established distribution channels yet, and so a lot of the funding has come from larger headset manufacturers like Oculus and select brands like Intel.

After traveling around to 30 cities around the world with Kaleidoscope VR’s festival, Pinnell decided to hold the FIRST LOOK VR market in September in order to match the most promising independent VR creators with funders, producers, and distributors. I caught up with Pinnell at the end of the inaugural FIRST LOOK market to talk about the funding landscape for independent creators, his journey from festival producer to executive producer to market organizer, and what he sees are the keys to innovation for immersive storytelling.

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Oculus Sends 5 VR Experiences to Sundance 2018

The Sundance Film Festival just kicked off in Park City, Utah, and Oculus announced in a blogpost they’re debuting five experiences at the New Frontier section of Sundance—all of which they helped bring to life.

Sundance’s New Frontier hosts a curated selection of works realized in the mediums of VR, AR, MR and AI. You can check out a full list of every entry into their year’s Sundance New Frontier showcase here.

Oculus will be doing a deep dive on each experience they’ve brought to Sundance, the first of which details the making of will.i.am and The Black Eyed Peas’ Masters of the Sun.

Dispatch

Written and directed by Edward Robles of Here Be Dragons, Dispatch follows a small-town police dispatcher (Martin Starr, Silicon Valley) as he faces an all-night crime spree. The experience takes you inside the dispatcher’s perspective in this episodic, audio-based miniseries. The first three episodes launched on Rift and Gear VR in November, and the finale will launch on the Oculus Store January 25 following its world premiere at Sundance.

Masters of the Sun

Launching for Gear VR, Masters of the Sun is presented by will.i.am and The Black Eyed Peas. It takes place during the ’80s when ancient and modern forces of evil started destroying black communities. Vocal talent including Rakim, Queen Latifah, KRS-One, Jason Isaacs, Slick Rick, and comics industry legend Stan Lee tell the story of mobilization and reclaiming their city, fighting back against the evils of drugs, crime, and discrimination.

Check out Oculus’ Q & A with will.i.am here.

Space Explorers

The latest project from Felix & Paul Studios, Space Explorers lets you reach new heights through the power of VR. Created in partnership with NASA, the experience follows their astronauts as they prepare to launch into space. Space Explorers is coming to Oculus in 2018.

SPHERES

The first chapter of SPHERES, called “Songs Of Spacetime,” is debuting at Sundance. SPHERES is a three-part series that transports viewers into the deepest pockets of the Universe, bringing to life future worlds and exploring oneness with the cosmos. SPHERES is created by Eliza McNitt and will launch on Rift in 2018.

Wolves in the Walls

From the team behind the Emmy Award-winning project Henry comes Wolves in the Walls, a gorgeous, interactive adaptation of Neil Gaiman and Dave McKean’s haunting work brought to life in VR. Wolves in the Walls is coming to Oculus in 2018.

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Oculus Story Studio’s ‘Wolves in the Walls VR’ to Premier at Sundance

Wolves in the Walls, the terrifying children’s book from Neil Gaiman and Dave McKean, is getting its own VR experience. Created as one of the last projects of the now-defunct Oculus Story StudioWolves in the Walls VR is making its debut at Sundance Film Festival this year.

Oculus Story Studios created three VR experiences before Facebook shuttered the studio back in May; Dear Angelica, Lost, and Henry. The studio’s highly-polished experiences were created to showcase the promise of gripping VR narratives, and while the mission was more or less completed, Wolf in the Walls VR was left unfinished.

According to a report by Variety, most of the Story Studio team couldn’t accept that Gaiman’s VR adaptation was left unfinished. Despite officially disbanding, a majority of the team stayed together to quietly work on the project, which fortuitously received additional funding from Oculus as well.

image courtesy Oculus

Wolves in the Walls follows the ever-imaginative Lucy as she hears wolves crawling in the walls of her family’s home. Stepping into the shoes of Lucy’s imaginary friend, executive producer Saschka Unseld says the experience aims to solve the puzzle of “how to organically combine​ ​a​ ​compelling​ ​and emotional​ ​story​ ​with​ ​interactive​ ​worlds​ ​and​ ​characters.”

New York-based immersive theater company ​Third​ ​Rail​ ​Projects developed the story’s choreography, and was directed by DreamWorks Animation veteran ​Pete​ ​Billington and ​Jessica​ ​Shamash, known for her work at Pixar.

image courtesy Third Rail Projects

“After​ ​Henry,​ ​we​ ​knew​ ​that​ ​we​ ​wanted​ ​to​ ​created​ ​a​ ​deeply​ ​interactive​ ​character.​ ​Something​ ​that​ ​wasn’t​ ​passive​ ​or bound​ ​to​ ​the​ ​rectangular​ ​format​ ​of​ ​traditional​ ​media,” Billington said in a prepared statement.

“Lucy​ ​was​ ​our​ ​friend.​ ​We​ ​cared​ ​for​ ​her.​ ​She​ ​felt​ ​more​ ​than​ ​a​ ​3D​ ​character,” Shamash added.

The first chapter of Wolves in the Walls VR is set to premiere at Sundance in January, with two additional chapters currently in the works, although release date is uncertain at this time.

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Pixar’s First VR Experience ‘Coco VR’ is Astounding, Raising the Bar on VR Movie Tie-ins

Coco VR, Pixar’s first-ever VR experience, has a pretty specific goal in mind; getting you to see the film in theaters when it opens next week. That’s at least the mindset I had before putting on my Rift, a result of a malaise that comes from playing nearly every ‘brand engagement’ tie-in ever produced for VR (they’re free after all). Popping into the experience and putting me face-to-face with the main character Miguel, it became clear that Coco VR was going to be different.

Initially teased at Oculus Connect 4Coco VR can be experienced in either single or multiplayer mode, the later of which lets you pick up to 3 other players from your Oculus friends list.

image courtesy Disney-Pixar

Entering the experience, you’re transported to the house of twelve year-old Miguel. Standing in front of the family’s ofrenda, Miguel explains the candle-lit altar commemorates his passed family members. Called away by his mom to help with dinner, you drift off into a dreamlike state, led by an infectiously cute alebrije, or a mythical creature central to Mexican folk art. This was the moment when it dawned on me that Pixar had effectively created one of the best-looking VR experiences to date, movie tie-in or otherwise.

Dropped in the Tienda de Ropa (clothing store) where Ceci, a motherly skeleton, gives you free rein to try on a few different outfits, I start customizing my avatar. Placing a pair of pants and a stripped shirt on a tiny mannequin, I see the clothes appear on me in the mirror.

image courtesy Disney-Pixar

Besides locomotion and object interaction, the game’s instructions aren’t thrown in your face, encouraging exploration instead of forcing you to complete objectives. Rustling through a random drawer, I find a small map and a checklist of things to do and explore.

The film’s otherworldly ‘Land of the Dead’, populated with a cast of skeleton characters decorated in the style of the traditional Mexican holiday Día de Muertos, is ridiculously charming.

Teleporting around the main Plaza, you can do a number of activities, probably the least interesting of which is to watch the movie’s trailer at the open-air cinema, a near-constant focal point in these sorts of experiences. The meat of the experience is in the other activities, all of them well refined exemplars. You can go on a Disney-style ride around the village, travel up an outdoor elevator, take selfies with silly hats and mustaches, listen to a skeleton band perform music, and even dance around on stage yourself – replete with a crowd of adoring fans that clap and mimic your movements. My favorite was the Estudio de Arte, an art studio jam-packed with concept art from the film as well as other works. Buttons placed in front of the studio’s sculptures, paintings and sketches activate an explanation behind each work, and even teach you a little about the tradition behind the calaca, the skeleton figures featured in Día de Muertos.

obligatory selfie

Pixar’s Coco VR could have easily been just a good-looking 5 minute experience, or even a 360 video (groan), but the company has clearly invested the time in understanding the medium for what it is: interactive, explorable, social, and shareable.

According to an Oculus blogpost, the team behind the actual film worked closely with their VR counterparts to create assets and animations that stayed true to the movie. Magnopus, the team behind Blade Runner 2049: Memory Lab, brought the art to life in VR, adding social and interactive layers. Oculus collaborated with both teams, providing creative and technical feedback from early development through to completion.

image courtesy Disney-Pixar

And this likely isn’t the last we’ve seen from Pixar either. According to Disney-Pixar’s Coco VR Producer and Academy Award-winner Marc Sondheimer, “VR is the natural next step in our evolution, letting people experience these worlds in living color.” We can’t wait to see what’s next.

You can download Coco VR for Rift here. A version for Gear VR is slated to launch November 22nd.

And yes, you can also play in Spanish. ¡Qué suerte!

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‘Kingdom City Drowning’ Looks Like VR’s Very Own ‘Sin City’

‘Kingdom City Drowning’ Looks Like VR’s Very Own ‘Sin City’

What do you get if you take Frank Miller’s Sin City, Ridley Scott’s Blade Runner, 2000AD’s Judge Dredd, and mix them together with the help of VR? The answer might well be Kingdom City Drowning.

This is a new cinematic VR series built in Unreal Engine 4 from phoenixmirror. Designed for the Oculus Rift and HTC Vive, it’s being worked on part time by co-creators, writers and directors, Barret Phillips and William Gerardi, writer Robbie Barnett, and producer and designer Stewart Garner. It’s comprised of three separate episodes that follow different characters, though each is set in Kingdom City, a smoggy neo-metropolis that is forced to continue building towards the sky as toxic haze slowly rises from below. The first episode, titled The Champion, follows James, an inmate at a prison below the surface of the gas.

Talking to UploadVR over email, Phillips revealed that the project was born from his love of the moody atmospheres in games and films like Alien, Silent Hill, and Shadow of the Colossus. “One of my passions is to take the concept of atmosphere to a new level and for me there is no medium superior to VR,” he said. As you can see from the trailer about and the exclusive set video below, Kingdom City Drowning is definitely big on atmosphere. It’s dark, miserable, and promises not to hold back.

“For me VR just seems like the perfect opportunity to mix the DNA of games and movies in new creative ways since ‘established norms’ of VR are being thrown out all the time anyway,” Phillips continued. Having seen the potential in VR stories like Gnomes and Goblins, I know where he’s coming from, though Kingdom City won’t have interactive elements to it. It’s closer to something like Oculus Story Studios’ Henry, at least in execution, certainly not in tone.

Still, when I first heard the term “cinematic virtual reality”, I assumed this would be a 360 video. It’s a pleasant surprise to find out it isn’t. “We decided in favor of an engine-based experience rather than 360˚ video for several reasons; with how new of a format this is, the flexibility of editing in Unreal 4 is unparalleled from a creative aspect while shooting 360˚ would require a precise knowledge of how to maximize the effectiveness of shots before the cameras start rolling,” Phillips said.

“We feel like the game engine route is also simply much more established as providing a good balance of high fidelity to low jankiness-factor for a VR experience at this point and that’s ultimately what we’re after and how we want others to experience our work,” he added. “I’ve enjoyed some good 360˚ video experiences but they all have a certain amount of tech and practical issues holding them back somewhat at this stage.  I’m interested to see how light field technology will alter this in the future!”

The Champion is currently being developed in the team’s spare-time, a surprising fact given that Phillips and the team recorded motion and facial capture for with its actors, Kentucker Audley (The Sacrament, Christmas, Again) Sofia Banzhaf (Bitten, Degrassi: Next Class) and Amin Joseph (Dope, Transparent). phoenixmirror is planning to charge around $4 for the episode, which lasts about 25 minutes. The second episode, ‘Lovers In Hell City’ is aiming to released in Q3 2017, though a date hasn’t been set for the third, ‘The Drugs We Eat Won’t Save Us’.

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Preview: Jon Favreau’s ‘Gnomes and Goblins’ Sparks the Imagination and Demands Your Curiosity

Gnomes & Goblins is a real-time interactive experience currently in development by VR production company Wevr and created by film director Jon Favreau, an industry professional known for his work on films such as the Iron Man franchise, Chef (2014) and The Jungle Book (2016). Releasing yesterday on Steam for the HTC Vive, I curiously popped my head into the fantasy realm and was immediately entranced by the solidity of the world set in front of me.

Spoiler Alert: This preview will likely ruin some of the magic of playing through the 5-minute experience for the first time. It’s highly suggested if you own a Vive, that you download it here and play it once through before reading.

Entering the main menu, you’re confronted with a lone sign post. There are no instructions, no helpful voices to tell you where to go or what to do, only a lit candle sitting atop a tree stump and a number of unlit candles appended to the various directions. It’s simple, clever things like this that spark something deeper inside you, that drive you to look, touch and experiment with the world of Gnomes & Goblins.

gnomes-and-goblins

Lighting the ‘Goblin’ signpost with my candle (‘Gnomes’ was unavailable in this build), I was instantly transported to an enchanted forest filled with tiny rope bridges and homes carved into the trunks of living trees, all cast in an autumnal hue like some sort of beautiful dream. Fireflies buzzed as I playfully opened window sills to peak into the little village’s various homes, and even stuck my giant head down into a hollowed out tree trunk to find an archetypal medieval pub with beer flagons and wooden barrels.

gnomes-and-goblins-bridge gnomes-and-goblins-kneipe

Since locomotion is 1:1, meaning you have to actually walk around to move in the space, the experience is only so large, but the density of the village diorama and interactive items like acorns and apricots that you can pick from the trees had me exploring and playing around for a while before a certain rustling near my feet piqued my interest.

Wide-eyed little goblins peaked out of doors, ran on the tiny suspension bridges, and scurried around my feet. A curious little goblin inched closer to me as I beckoned him with an acorn in hand to lure him in. Snatching it from my grasp, he ran away behind the hollow stump, lurking back at me distrustfully and following me with his big, orb-like eyes.

gnomes-and-goblins-forest gnomes-and-goblins-tree

Deciding that I could be trusted not to smash up their village (they are less likely to approach if you make sudden movements), another goblin wandered out of a tunnel at the base of one of the tree homes, toting a brass bell—giant for him, but normal-sized for me—and placed it at my feet.

henry-emmy
See Also: Oculus’ ‘Henry’ Becomes the First VR Film to Win an Emmy

No words were exchanged between us, me and the goblin as he plopped down at the base of the tree, expectantly waiting for me to pick up the bell.

Grasping it, I started swinging it slowly like an old timey town crier as each ring of the bell awakened the a swath of different-colored fireflies around me. The more it rang, the more fireflies obscured my vision until the whole world was glowing in an ethereal light. My vision returned, I looked up to see that I was now the size of a goblin, standing in the center of the village.

With the bell still in hand, I rang it again to find that I could tour the village from the inside to see goblins drinking, sleeping, and staring at me with their large, expectant eyes.

header-gnomes-and-goblins

And that, sadly, was the end. It’s a world I desperately didn’t want to leave, although according to director Jon Favreau “[e]ven in this limited preview experience, I wanted it to be very rich. Where you felt like every time you went back into it you felt like you could find more.”

‘Gnomes & Goblins’ Preview on Steam (HTC Vive)

According to Wevr and production partner Reality One, there is much more in store for the goblin’s fantasy world.

“As we look ahead to building out the full scope of the experience, we are engaging Doug Church, a veteran game designer and interactive story pioneer, to flesh out the game systems and design the interactions and activities – increase player agency and the range of possibilities you will be able to experience in this expanded world. We are already down the path of designing the expanded Gnomes & Goblins universe.”

No release date has been established yet for Gnomes & Goblins, but we’ll be following it closely.

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