Natural History Museum of Los Angeles to Exhibit Wevr’s theBlu

Virtual reality (VR) studio Wevr has announced a collaboration with the Natural History Museum of Los Angeles (NHMLA) to exhibit theBlu: An Underwater VR Experience, a specially curated cut of multi-award-winning VR series, theBlu.

theBlu: An Underwater VR Experience, directed by Jake Rowell (Call of Duty, Final Fantasy, Superman Returns), is a unique 6-minute presentation for NHMLA visitors, highlighting three environments. They’ll be able to encounter a 80-foot blue whale as it swims past a sunken ship; an undersea migration on the edge of a shallow coral reef, with turtles and swarms of jellyfish gliding by; and a deep dive into an abyss, where hidden creatures including angler fish and squid appear with the use of a virtual flashlight.

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“The museum has integrated technology and multi-media into our newer exhibits and is now exploring ways to enhance digital engagement with the natural world. This iconic deep dive VR experience from Wevr brings us to a new level of interactivity—and our visitors come along for the ride,” said Dr. Lori Bettison-Varga, NHMLA Director and President. “Engaging and inspiring visitors is what we do—and theBlu: An Underwater VR Experience is beautiful, powerful storytelling. It would not surprise me if the next generation of marine biologists—and VR developers—are inspired by this exhibit.”

“Here’s what it’s like, from someone who has done a lot of SCUBA diving: It’s fantastic to see all those underwater creatures, and not be underwater and cold—especially the deep-sea chapter, where you couldn’t even dive in real life,” says Dr. Chris Thacker, NHMLA Fish Curator. “Users get an up-close look at the animals, particularly the whale and the turtle, and interact with jellyfish and see how they respond. The experience is scientifically accurate and does a good job of replicating what it’s like underwater, all while you’re just standing there, warm and dry.”

Before starting the experience visitors are acclimated to the technology amid glowing NHMLA ocean specimens on display and projections of reef footage. They’re then led into five “pods” in the gallery, each containing a HTC Vive headset. For friends and families, a seating area is located nearby, where they can watch the action on a monitor.

theBlu: An Underwater VR Experience will be open to NHMLA attendees from 6th March – 28th Apriladvanced timed-tickets can be purchased online, at NHM.org.

For all the latest VR news from around the world, keep reading VRFocus.

Life In 360°: Walking New York

We begin our wrap up of things for the working week with our Friday issue of Life In 360°. Our thrice weekly trip out into the world via 360 degree video from any number of sources and focused on any number of things. Today we’re taking a trip over to America and arguably its most famous city – New York.

Courtesy of, appropriately enough, The New York Times and their NYT VR app we have have the nearly seven minute experience Walking New York. A production in conjunction with Wevr. However, it is not what you might necessarily think. I.e. a casual journey through New York’s streets, or maybe taking in various iconic locations in the city. Like the Empire State Building, or Central Park, the Chrysler Building or swinging past The Statue of Liberty. (We’ve done the latter before, as you might recall.) Instead this is a behind the scenes look as to how The New York Times Magazine’s Walking New York cover was created. Join artist JR in his studio as he describes the vision for the cover.

‘Li360’ will be back, of course, on Monday. Don’t forget to check out the rest of VRFocus today and over the weekend for news, videos and updates from the worlds of virtual and augmented reality.

Take Deep Breaths And Lighten Your Thoughts With Deepak Chopra VR Experience

There are many types of virtual reality (VR) experiences. There are games, educational apps, films and associated experiences – such as the one for the Power Rangers movie that VRFocus got hands on with this week, and the newly announced experience for Alien: Covenant – in 360 degrees and each of these themselves have a number of different genres.

The Samsung Gear VR has arguably the biggest range of VR experiences avalable to it and is, based on Samsung’s figures, also the most wide-reaching of the non-Cardboard HMDs on the market at the moment.

The latest Gear VR experience to be released this week on the Oculus store is one that comes from a publisher that should be very familiar to regular VRFocus readers: Wevr.

The app, Deepak Chopra Finding Your True Self is a relaxation and meditation app featuring the philosopher, physician and best selling author. Sit back and relax as music, imagery and Chopra’s instructions wash over you. As he delves into how VR can help not just entertain but also promote a better well being.

The app is available for £6.99 (GBP), $8.99 (USD) or your regional equivalent.Check back with VRFocus regularly for more Gear VR news and updates.

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Wevr Launches Premium Subscription Tier with Psychedelic Experience Old Friend

Back in April, virtual reality (VR) content creator and distributor Wevr launched Transport, a free early access app for Samsung Gear VR that acts as an immersive network collating weird and wonderful experiences. Today Wevr Transport takes the next step on its journey to becoming a premium VR content platform by introducing a yearly subscription. There’s also the debut release of Old Friend to mark the occasion.

Old Friend originally premiered at Tribeca Film Festival this year winning several “best-of” awards in the process, before being showcased at the Kaleidoscope Film Festival. In the VR experience viewers will lose themselves in a vibrant psychedelic dance party brimming with joyful insanity and elegant dance routines. The animated VR music video experience was created by filmmaker Tyler Hurd for the song “Old Friend” by Future Islands.

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Hurd’s previous VR offerings include BUTTS: The VR Experience, again a visually surreal yet thought provoking title. This tells the story of a blue man, who is happy in his strange way of bouncing around. While doing this he comes across a sad orange man. He is lonely and depressed, however the blue man takes it upon himself to make him feel better.

For the launch of Wevr Transport’s premium tier there will be four experiences available, Old Friend, Finding Your True Self (by Deepak Chopra), theBlu: Season 1 (Whale Encounter, Reef Migration, Luminous Abyss) and Waves (premiered at Sundance Film Festival 2016). The premium tier will have an annual subscription rate of $20 USD for HTC Vive users, while Gear VR owners have to pay $8. With it Wevr wants to embrace and nurture VR creatives, helping establish a sustainable business model for that community to continue to evolve and flourish for years to come.

Old Friend will also be available through Steam / Viveport / and Oculus Store for $2.99 on from 22nd December 2016. For all the latest Wevr updates, keep reading VRFocus.

 

Wevr Adds $20 Annual Pass To Premium VR Content On Its Transport Service

Wevr Adds $20 Annual Pass To Premium VR Content On Its Transport Service

Wevr is following in the footsteps of traditional media companies like HBO, Netflix and Hulu. The virtual reality startup is launching a $20 annual subscription premium channel on its Transport service, offering early VR users unlimited access to exclusive content like Deepak Chopra’s Finding Your True Self, Tyler Hurd’s Tribeca Film Festival VR hit, Old Friend, Reggie Watts’ Waves and theBlu Season 1.

Transport is currently available on HTC Vive and Samsung Gear VR. The beta is running on Oculus Rift and Google Daydream.  Anthony Batt, co-founder of Wevr, told UploadVR his team is working on a PlayStation VR version and all platforms will be supported by early 2017.

Batt said Transport was created because it’s critical in an early market to create a direct relationship with an audience.

“Consumers now understand the idea that subscribing to HBO, Netflix and Hulu funds superior content,” Batt said. “We think it’s a great model and believe it will work for the VR industry at large. The opportunity of making and programming brave VR and establishing serious connection between the audience and creators is our path forward. We think it is a win-win for everyone if we prevail.”

Batt said Wevr was influenced by the record label Sub Pop’s subscription service, “singles club,” where fans paid a very reasonable fee and trusted that the releases they sent you would be of a certain quality. That’s exactly what Wevr wants to do with VR.

“We want to establish a symbiotic relationship between this emerging audience and the creators,” Batt said. “We value these works and believe in their worth. By making Transport a subscriber product, we are trying to make it extremely convenient for an audience to find the very best experiences.”

Hurd told UploadVR Rene Pinnell at Kaleidoscope showed Wevr an early version of Old Friend, an interactive VR music video.

“I had decided I was making Old Friend and they were excited to get me whatever I needed to keep it moving and gave me the creative freedom to be as weird and crazy as I want, which for any artist is a huge priority,” Hurd said. “Transport has been a place for a really wide variety of unique content, which I appreciate a lot, it’s great to see a company making all these cool risky VR projects happen and getting them out into the world.”

Hurd said listening to the “Future Islands” song in his regular rotation inspired the visuals, and the people in his life that he’s shared many late night dance parties with inspired the specific dance moves.

“The song for me brings this kind of uninhibited excitement, the kind that makes you dance in a way that is certainly not cool at all, but is extremely fun and makes people laugh,” Hurd said. “My aim was to recreate this ‘stupid joy’ or ‘nonsensical joy’ for the participant, by completely surrounding them in a world where only that feeling exists, no matter what they choose to look at or do with their hands.”

Batt said since the company’s desire is to continue to fund creative VR artists so they can make great work and, most, if not all, of the revenue from the new subscription service will be shared with the artists to make new VR projects.

“Our focus right now is primarily the VR creative community,” Batt added. “We want to win their support so that we can build an audience together. We are confident that the consumer will grow as VR projects get better and better and become more viral. The challenge is to get more creatives making VR projects that will inspire consumers to spend more time with VR. We believe a narrow focus on winning these VR creators in a meaningful way will make a positive impact for the industry in a much broader way.”

Batt said the plan is to add new content for subscribers. In the future, he’s open to adopting a monthly subscription option, but there’s enough content today for an annualized model.

Chopra told UploadVR the Finding Your True Self program he’s created with Wevr will continue. He expects to have another VR program available within six months and he’ll start working on that in the next six to eight weeks.

“What I learned from this first program was that we underestimated the power of the (VR) technology,” Chopra said. “We could have done more things. And we will do more things next time to create an even richer multi-sensory experience.”

Chopra said Finding Your True Self was designed to give users a deeper understanding of the nature of experience, as well as the nature of their own self.

“We are trying to replicate in the 16 or 18 minutes that we have, the Buddha’s journey to Nirvana, toward enlightenment, toward understanding,” Chopra said.

Wevr continues to develop Gnomes and Goblins with Jon Favreau. Batt said the full experience will be completed by this time next year.

“We don’t know how that all turns out now,” Batt said. “It might be available on Transport or it might be stand-alone product.”

There will be plenty of other content available in between. And ultimately, the goal is to one day become the Netflix of VR.

“We’d love to see us get to that point, but it might be 10 years out,” Batt said. “We don’t know.”

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Tippett Studio Releases Mad God Stop-motion Animation VR Experience on Wevr

Tippett Studio Releases Mad God Stop-motion Animation VR Experience on Wevr

Phil Tippett’s mind has been creating creatures for generations, including the creatures in the Star Wars holochess scene and the dinosaurs of Jurassic Park. Now he’s created his own creature-filled stop-action animation film, Mad God, and it is coming out in virtual reality.

Tippett Studio is announcing today that Mad God will be released in VR on the Wevr Transport platform on the Samsung Gear VR. That’s a new store where you can access 360-degree videos and other VR content. I recently visited Tippett’s madcap workshop in Berkeley, California, where he showed off another digital project, the monster game Hologrid: Monster Battle.

Mad God immerses viewers in a dystopian subterranean netherworld featuring delightfully grotesque characters, all straight from the wonderfully twisted mind of Academy Award winning visual effects craftsman Tippett. Using photogrammetry to translate physical stop-motion animation into the VR landscape, the Mad God experience is a new twist on VR animation.

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Tippett’s new film is another advance for VR, which is moving into uncharted territory when it comes to entertainment. The darkly beautiful Mad God is what happens when you merge the brilliance of a renowned veteran effects artist with the century-old technique of stop-motion animation and transport the whole thing into virtual reality.

The idea of introducing Tippett’s unique vision into a 360-degree immersive setting was spearheaded by Mike Breymann of Kaleidoscope VR, a fan of both Tippett and the original short film version of Mad God.

“I really liked the concept of bringing an art form that has been around for a hundred years and matching it up with this new accelerated world that we’re in,” Breymann said, in a statement. “It allows for discussions around ways of experiencing art and virtual reality. There’s this notion that game engines, rapid advancements in hardware, accelerated graphics and all this technology is somehow carrying us forward artistically, and this experience is in some ways calling all that into question.”

When approached about adapting Mad God into VR, Tippett didn’t hesitate.

“I started trying to figure out how we can do this,” Tippett said in a statement. “The whole thing was shot stop-motion on tiny sets, so it has a very visceral photographic handmade look as opposed to the cleanliness of so much of the VR content that’s being produced with computers. What really excited me about the whole VR experience was how different it is than cinema. I see VR as something completely different in the way that literature and cinema have, over the years, really honed narrative storytelling to an art specific to the form. And the minute you alter the format and approach, it changes everything.”

Phil Tippett creates his creatures by hand.

This post by Dean Takahashi originally appeared on VentureBeat.

Stop-Motion Guru Phil Tippett Brings Nightmarish ‘MAD GOD’ Universe to VR

Phil Tippett, the visual effects genius behind classic stop-motion animation sequences from films such as the holochess scene from the Star Wars franchise, Jurassic Park (1993), and RoboCop 2 (1990), brings his latest stop-mo project MAD GOD to virtual reality.

Based on Tippett’s eponymous short film MAD GOD (2013), a long-time passion project and result of a successful Kickstarter campaign, the newly released 3D 360 video is filled with the universe’s faceless ghouls, war pigs, and other nightmarish sights. While it’s only a little less than two minutes it length, it’s effect is nothing short of terrifying.

Like in the good old days of movie magic though, all of the creatures in MAD GOD are hand-crafted—something that really makes your skin crawl to see up close and personal via the immersive first-person view of a VR headset.

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Phil Tippett is a VFX pro with more than 40 years of experience under his belt with an Oscar, a BAFTA, and 2 Emmys to show for it, so when he says something about the nature of film and its role in the burgeoning medium of virtual reality, we’re inclined to listen. Explaining his thoughts on VR in a behind-the-scenes look at MAD GOD, Tippett says that VR isn’t so much a continuation of film-making as an art, but rather an entirely new medium, one that pioneering creatives still need to figure out.

“I do not think VR is the future of film making,” explains Tippett. “It’s the wild west. It’s like, nobody knows nothin’. The opportunity to experiment and try things that you haven’t seen and you haven’t imagined, it’s all out there.”

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Even though stop-motion animation has now become a niche field in visual effects, replaced largely by computer-generated imagery (CGI), Tippett still wants to be on the forefront of story-telling.

“It really is that first-person dreamworld. It’s all experimental, it’s all really wild. It was kind of like that working for George [Lucas] or Steven [Spielberg] early on. Why do you want to do what you’ve already done a hundred times before?” he wonders. “Oh. I understand. To make money. My mind doesn’t go there—it’s like … you now what would be really great? […] Like a LSD VR-thing. That would be really fuckin’ cool.”

MAD GOD was made by VR production studio Kaleidoscope and Tippett’s own production house, Tippett Studio. You can download it on Wevr’s Transport app for Gear VR and HTC Vive on Steam.

Check out the behind-the-scenes video below for a deeper look into MAD GOD for VR.

The post Stop-Motion Guru Phil Tippett Brings Nightmarish ‘MAD GOD’ Universe to VR appeared first on Road to VR.

Wevr and Tippett Studio Bring VR Animation Mad God to Gear VR

Award-winning virtual reality (VR) studio and distributor Wevr has collaborated with Tippett Studio on the release of Mad God, a VR stop motion animation that originally premiered at the Kaleidoscope World Tour earlier this year.

This is a VR version of Tippett’s 2013 short film Mad God, a dystopian subterranean netherworld featuring delightfully grotesque characters.

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In a Wevr blog post Mike Breymann of Kaleidoscope VR explained about the projects creation: “I really liked the concept of bringing an art form that has been around for a hundred years and matching it up with this new accelerated world that we’re in. It allows for discussions around ways of experiencing art and virtual reality. There’s this notion that game engines, rapid advancements in hardware, accelerated graphics and all this technology is somehow carrying us forward artistically, and this experience is in some ways calling all that into question.”

Tippett then goes on to reveal how they went about creating the VR version: We replaced the sky and the ground digitally,” Tippett says. “And then we had twenty something of these characters we call the shit men. They’re small six inch stop motion characters that are made out of foam rubber with articulated skeletons and they are covered, I took cat hair from my vacuum cleaner at home and put that on their surface so every time an animator touched them it would disturb the cat hair. So the contour of the characters crawling all the time creates the kind of otherworldly distance.”

Tippett Studio may sound familiar to VRFocus readers as its helmed by Phil Tippett, 2-time Academy Award winning Visual Effects Supervisor and Director who’s worked on the original  Star Wars trilogy, Jurassic Park, Robocop and The Force Awakens. Earlier this year Tippett Studio launched a successful Kickstarter campaign of augmented reality (AR) game HoloGrid: Monster Battle, inspired by the Holo Chess scene in Star Wars.

Wevr co-founder and EVP Anthony Batt added “We have long admired Phil Tippett’s brilliance and were honoured to help introduce his unique vision into VR. Mad God is an experience unlike anything else out there. It redefines what is possible.”

Mad God is available through the Wevr Transport app which supports the Samsung Gear VR and HTC Vive headsets. For all the latest VR news, keep reading VRFocus.

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.

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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.

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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.

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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.

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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.

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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.

The post Preview: Jon Favreau’s ‘Gnomes and Goblins’ Sparks the Imagination and Demands Your Curiosity appeared first on Road to VR.

Jon Favreau’s ‘Gnomes & Goblins’ is Out for HTC Vive Now

Veteran Director of Iron Man, Chef and more recently The Jungle Book, Jon Favreau has created a brand new project entitled ‘Gnomes & Goblins’, a realtime VR experience set in a magical fantasy world. And it’s out right now.

In collaboration with Reality One and Wevr, Jon Favreau’s first exploration of VR as a narrative platform is Gnomes & Goblins, an interactive VR experience that takes you through a fantastical world where you get to meet, and get to know, well, some Goblins (and possibly some Gnomes).

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As promised a preview version of this new VR experience, which is appearing exclusively for the HTC Vive system on Steam, is out right now for free. You can grab it right here. And you can read more about the new experience here.

The post Jon Favreau’s ‘Gnomes & Goblins’ is Out for HTC Vive Now appeared first on Road to VR.