This just in: next Wednesday, June 1, we’ll be screening “Pearl” in 2D, 360º and VR at an SF-SIGGRAPH event in San Francisco. We’ll also be doing a talk with some behind-the-scenes footage. Seating is limited, so if you’re in the Bay Area and want to attend, sign up now!
The short I’ve been working on for the past year finally goes live today! It should play nicely on any iPhone, iPad or Android device made in the past few years. Here are all the ways to see it:
(If you’re on a desktop computer or older device, fear not: you can still see Pearl, as a non-interactive 360º video. But the experience is made for mobile, so that’s really the best way to see it.)
Whatever device you’re using, I recommend plugging in your very best pair of headphones so you can enjoy the 360º ambisonic sound and music!
It’s been wonderful to watch people react to “Pearl” as we take it out on tour. Here are some of the nice reviews and interviews that have come out since our debut at Tribeca:
USA Today, May 17: Google to show off animated VR short at I/O
Cartoon Brew, May 14: Observations from the VR Front: ‘Pearl’, ‘Invasion!’, and ‘Allumette’
Filmmaker Magazine, April 22: Tribeca 2016: Patrick Osborne on Winning an Oscar and his Animated VR Piece Pearl
The Verge, April 22: The best virtual reality from the 2016 Tribeca Film Festival
The Verge, April 21: The brains behind Pearl on bringing Google’s new Spotlight Story to Tribeca
Inverse, April 18: Google’s VR Film ‘Pearl’ Combines Disney Charm and Cutting Edge Tech
Variety, April 16: Google Shows Off First Spotlight Story on HTC Vive at Tribeca
Okay, one more update for those of you in New York: we will also be doing the first ever live public demo of Patrick Osborne’s Spotlight Story “Pearl” in full 360° at Tribeca’s Interactive Playground on Saturday, April 16th. We’ll be there all day.
Here’s where you can find tickets to the event. Hope to see you there!
News is finally starting to come out about the project I’ve been working on for the past year at Google Spotlight Stories. It’s an interactive 360º story, directed by Patrick Osborne, called “Pearl”. We’re simultaneously making a 2D film version of the story, which will have its world premiere at the Tribeca Film Festival on Sunday, April 17th at 6pm.
It’s been an amazing experience so far, full of exciting artistic and technical challenges, and it’s opened my mind to some astonishing new things. I’ll post more about it when we’re done, but in the meantime, Cartoon Brew has a nice writeup with some images from the show. And if you’re in New York that weekend, swing by and say hi!
We just saw Pete Docter’s brilliant and sweet Inside Out, which I highly recommend to anyone with a functioning heart and brain. As a sometime student of human emotion, and a fan of Paul Ekman’s work, I was impressed with how well tuned the five main characters were to the real mechanics of emotions. There wasn’t a moment in that film that didn’t ring true. If you haven’t seen it yet, go already!
For those who liked the “who’s driving this thing?” angle of the movie, I want to point out another body of work that I’ve admired for years: Tim Eagan’s Subconscious Comics, which ran in a Santa Cruz newspaper from 1981-2000, and appeared in book form as The Collected Subconscious. It’s a more adult and irreverent take on the same subject, where instead of the five cardinal emotions at the controls, it’s a hairless chimpanzee in tighty-whities known only as “The Boss”, surrounded by an entourage of anthropomorphized neuroses. Definitely not for kids, but lots of fun for grown-ups. Enjoy!
Here’s something different: I have a new job! Today was my first day at Google Spotlight Stories. I’ll be working with some amazing filmmakers and technologists who are busy inventing a new kind of narrative visual storytelling uniquely suited to handheld mobile devices. If that sounds crazy, that’s because it is. It’s my kind of crazy. It’s exactly the kind of wild, inventive, “let’s try this and see what happens” attitude that got me interested in computer graphics in the first place, all those years ago. I couldn’t be more excited.
The video above really does a great job of capturing the delight of experiencing one of these stories for the first time. It’s almost impossible not to grin like a ninny. There’s not much more I can say about it right now, but there’s been some terrific press about the projects they’ve created so far. I’ll share more when I can!
Here’s a rough cut of part of a short film I started while working at the University of Washington. I did all the animation, and developed the Loose and Sketchy rendering style.
The character animation is pretty janky overall, though a few of the shots hold up pretty well. I sure have learned a lot since 1998!
In the 1990’s, it was typical for production companies to start their demo reels with a clock-wipe countdown. Some companies would use this as an opportunity to say something about their style, and do custom animation. (Will Vinton Studios, I remember, had a particularly cool stop-motion countdown at that time.) I thought it would be cool for Xaos to have a countdown that reflected our particular style of work, so I created this drippy ink effect counting down from 10 to 1, and a drippy version of the Xaos logo, which we put at the beginning and end of our demo reel respectively.
Some time after this, our producer got a call from MTV. They had this show called “Top 20 Video Countdown”. They wanted to use this effect for the bumpers and interstitials. Could we add the numbers 11 through 20? Our producer said “of course”, and charged them a lot of money. But it didn’t really take me that long.
Here is my first short film. I made this at PDI in 1995, during a gap between commercials. I modeled and rigged the characters, did most of the animation, and developed the wobbly ink-line look.
The pigeons’ torso was a metaball surface driven by a series of spheres along a spline between the head and the body, which were both separate IK joints (so I could easily get that pigeon-head movement style without counteranimating.) The eyes, beak, legs and wings were separate objects, each of which got rendered in its own separate pass. Each layer had its vector outline traced (using a tool originally written for scanning corporate photostats for flying logos!) I processed the curves using a procedural scripting language to give them some physics and personality, and then rendered them as black ink lines with varying thickness (using a tool written by Drew Olbrich). Finally, I ran the rendered lines through some image processing filters to get the edge darkening effect, and did some iterated stochastic silhouette dilation to add random ink blotches where the lines were thickest. Simple, really! ;-)