Podcasts about 6dof

W odcinku 189 gościmy dawno nie widzianego Starego Gracza i nieironicznie obwieszczamy, że Half-Life 3 potwierdzony. Zachęcamy do wsparcia inicjatywy mającej zapobiec zabijaniu gier, informujemy o dołączeniu pracowników Techlandu do związku zawodowego oraz o dużych zwolnieniach w firmach, gdzie związków zawodowych nie ma. Perka pokazuje jak złamać prawa fizyki i grać padem od Playstaton na Xboksie. W sekcji gier naleśnikowych Defan dzieli się wrażeniami z extraction shootera o polowaniu na czarownice, a ja z soulslajka ktorego z nieznanych przyczyn nienawidzą soulsiarze. Szycha opowiada o kilku grach, w które ostatnio pogrywał. Wspominamy też o rogaliku w którym jednym z bohaterów jest swojsko brzmiący Wiercisław (to prawdziwe słowiańskie imię).W kulturce dowiecie się skąd wziął się “wiek balzakowski”. W pozostawionej na końcu sekcji VR ogłaszamy koniec reflinkowego eldorado, a Defan dzieli się pierwszymi wrażeniami z korzystania z Questa 3. Podziękowania dla Defana za okladkę, Perki za montaż, Rudego za rozpiskę. Podziękowania dla Patronów za wsparcie, a najbardziej dla: Op1ekun, Tysho, Jan Jagieła, Janomin, Łukasz M., Tomasz Herduś, Paweł G.Zapraszamy też do odwiedzin naszego Discorda - https://discord.com/invite/PafByaf9DU Link do kanału Defana: https://www.youtube.com/@wsumiespoko/ Intro i w co ostatnio graliśmy:(00:02:52) Simplex: BG&E 20th, Secret of Retropolis, Retropolis 2: Never Say Goodbye, RE4 Remake VR, Dome Keeper, Dicey Dungeons, The Good Fight ostatni sezon, Ryga(00:07:50) Perka: Lords of the Fallen, Kroniki Myrtany, Dungeons of Hinterberg, Dome Keeper, COD: MW3, The Burst(00:12:34) Defan: Fight in Tight Spaces, Planet of Lana, Retired Men's Nude Beach Volleyball League, Elderborn, Mixture, GT7, Witchfire, Dome Keeper.(00:20:08) Rafał: Deliver Us Home, Gamedec, Mafia 2, Dungeons of Hinterberg Newsy naleśnikowe:(00:23:52) Half-Life 3 potwierdzony (to nie trolling)(00:29:15) Nowe wersje Dooma I i II i nowy epizod od Machine Games.(00:36:38) Stop niszczeniu gier wideo - podpiszcie petycję!(00:46:45) Związek zawodowy w Techlandzie(00:47:31) Branżunia to rak: zwolnienia w Intelu i Bungie(00:54:03) Jak nie złapać się na deepfake(00:56:56) Alan Wake 2 nadal na siebie nie zarobił(00:59:59) Stary Gracz będzie relacjonował Gamescom 2024 SPRZĘT:(01:02:11) Brook Wingman XB3 - jak grać padem od PS5 na Series X GRY Naleśnikowe(01:09:46) Witchfire - Defan(01:22:03) Lords of the Fallen - Perka(01:52:24) Gamedec - Szycha(02:06:29) Dungeons of Hinterberg - Szycha(02:15:55) Dome Keeper - Defan, Perka, Simplex Kulturka(02:29:49) Szycha: The Outpost/Kamdesh - Afgańskie Piekło (Prime), Time Bandit, The Instigators/Podżegacze (Apple TV+), Ministry of Ungentelmanly Warfare/Ministerstwo Niebezpiecznych Drani (Prime)(02:41:20) Defan: The Abbyss/Głębia(02:47:04) Damian: WandaVision(02:53:58) Simplex: The Good Fight(03:00:55) Defan: Książki: Kobieta 30 letnia / Idiota / Białe noce / Empuzjon Newsy VR(03:07:47) Medieval Dynasty New Settlement dostało ulepszenia na Queście 3(03:10:55) Dużo nowych funkcji Questa 3, w tym multitasking(03:16:22) Skończyło się eldorado z reflinkami(03:20:30) Meta zamyka Ready at Dawn [`](03:24:25) Meta generuje straty albo zwiększa przychody(03:31:48) Tomb Raider 2013 6DoF mod(03:33:25) Flat2VR Studios ma inwestora (fajnie) inwestującego w NFT i krypto (niefajnie) SPRZĘT VR(03:34:58) Adapter PSVR2 PC nie działa jak powinien(03:46:15) Bardzo duża obniżka ceny PSVR2 - 349$ w USA, 329GBP w UK - niestety krótka(03:51:04) Quest 3 - pierwsze wrażenia Defana Gry VR(04:04:20) Secret of Retropolis/Retropolis 2: Never Say Goodbye - Simplex(04:16:34) The Burst - pierwsze wrażenia - Perka Społeczność/Publicystyka(04:29:12) Rozwiązanie konkursu Into the Radius(04:32:18) Kupiliśmy domenę PolishOurPrices.pl - pomóżcie nam coś z nią zrobić(04:35:25) Nowy odcinek W SUMIE SPOKO nadchodzi https://www.youtube.com/@wsumiespoko(04:38:20) Rozgrywka Party 2024 7 września: https://www.facebook.

Cos’è e come funziona lo standard Passkey, lanciato lo scorso anno, e adottato negli ultimi mesi da molti importanti servizi online per sostituire l’autenticazione tramite password. Enrico Pagliarini ne parla con Paolo Dal Checco, esperto di cybersecurity e di informatica forense.Abbiamo incontrato Daniele Panfilo, fondatore della startup Aindo che ha recentemente concluso un round di investimento da 6 milioni di euro, per parlare di dati sintetici: cosa sono, a cosa servono e cosa c’entra l’intelligenza artificiale generativa.In occasione di Host Milano 2023, il salone dell'Ho.Re.Ca e del Food service, facciamo il punto sulla digitalizzazione nella ristorazione con Alfonso Iannotta, responsabile marketing della catena di ristoranti Roadhouse; Alessandro Santoni, co-fondatore della startup “6DOF-labs” che presenta Lumen e Aura, una lampada e un tag per ottimizzare la gestione delle prenotazioni in alberghi, lidi e ristoranti.E come sempre in Digital News le notizie di innovazione e tecnologia più importanti della settimana.

#metaverse #lamina1 #interoperability Rebecca Barkin is Co-Founder & CEO of LAMINA1, the brainchild of Neal Stephenson (Chairman), who first conceptualized the Metaverse in his 1992 million-selling book Snow Crash, and Peter Vessenes a foundational leader from the early days of Bitcoin a Layer 1 blockchain optimized for the open metaverse and its makers. The tech and creative leader brings 20+ years of experience leading strategy, design, and development at the intersection of emerging technology and entertainment – with recent positions VP of Content Strategy & Partner Solutions at the groundbreaking immersive venue Madison Square Garden Sphere and as Vice President of Brand Platform & Design at Augmented Reality pioneer Magic Leap. Since starting her career at EMI-Capitol Records, Barkin has helped companies big and small embrace transformative new technologies and bring them to market in partnership with beloved brands and artists. She led GTM strategy for pioneering computer vision & AI company Nod Labs which developed foundational 6Dof tracking technology to enable VR and AR. She's also held leadership roles at Genius Products, Dell Computers, and Silicon Valley startup Lyve . At Magic Leap, she drove the development of a slate of launch applications like the award-winning immersive music experience Tónandi, as well as branded content experiences with premium partners like Alibaba (Tokyo Olympics), Warner Bros (Fantastic Beasts), and HBO (Game of Thrones). Later, as Vice President of Brand & Platform Design, she led the redesign of both the operating system and brand for the enterprise-focused Magic Leap 2 (winner of multiple design awards). The brainchild of Neal Stephenson (Chairman), who first conceptualized the Metaverse in his 1992 million-selling book Snow Crash, and Peter Vessenes (CEO), a foundational leader from the early days of Bitcoin, Lamina1 is a Layer-1 blockchain purpose-built to empower the open Metaverse. Lamina1's chain technology, cryptographic model and extensive intellectual property partnerships (to be announced throughout 2022) will establish it as the preferred destination for this generation's most creative minds — those who are crafting the digital societies of the future. It is the first provably carbon-negative blockchain in the world https://www.linkedin.com/in/rebeccambarkin https://www.lamina1.com https://twitter.com/Lamina1official https://www.linkedin.com/company/lamina1 XROM- Home of Extended Reality India's 1st AR/VR Focussed Podcast Kindly subscribe to our youtube channel www.youtube.com/xrompodcast @spotifyforpodcasters @nealstephenson @lamina1 @metaverse

This week, Editor-in-Chief Elliot Williams and Contributor Emeritus Kristina Panos chewed the fat about the coolest hacks of the previous week. But first, a bit of news -- our Low Power Challenge fizzled out this week, and boy did we have a lot of entries at the last minute. We love to see it though, and we're going to get judging done ASAP. Don't forget, this weekend is Hackaday Berlin! Livestreaming for this one may be iffy, but we'll have the talks up for you eventually, so don't fret too much if you can't make it in the flesh this time. Kristina definitely got What's That Sound this week, but her answer will of course be bleeped out. Then it's on to the hacks, beginning with a 6DoF controller that does everything in interesting ways and a printed shredder that eats like a goat. From there they cover bolt dispensers, coffee grinders with Bluetooth weighing, camera calibration, and a 50-pen plotter that's definitely a hack. Finally, we discuss the virtues of physicality when it comes to SIM cards and recorded music. Check out the links below if you want to follow along, and as always, tell us what you think about this episode in  the comments!  

In Pursuit of Repetitive Beats is a landmark immersive documentary that seamlessly integrates so many different immersive storytelling techniques and XR modalities earning it the IDFA DocLab Award for Immersive Non-Fiction. You're transported back into the 1989 Underground Acid Rave Scene in Coventry and West Midlands where you go on an epic journey retracing the convoluted steps to avoid detection by the police in order to make it to a warehouse of dancing bodies. Director Darren Emerson from East City Films gives us a masterclass of techniques including impeccable set design of filled with media artifacts of that era, hybrid drone shots, projection mapping, 6DoF interactions, Haptic suit design, volumetric capture, wind effects, a well-considered 4m x 6m location-based entertainment design space with streamlined onboarding and offboarding, multi-modal media integration from diegetic archival video footage, fliers, and photos, a climatic psychedelic and vaporwave dance scene, and innovative integration of interviews that projected as silkscreen projections on fliers. Not only were they able to cover everything you'd want and expect within a 2D documentary covering the topic, but this piece managed to recreate the key components of the visceral an embodied experience of going on a musical adventure. All while using the medium of VR to provide additional historical context every step of the way.

Glitch Fandango, AKA Pete Austin joins us from 6DoF. He's a VR writer, focusing on reviews for the Quest 2. We talk Quest 3 Wishlist, his review procedure, nerd out on spell casting VR titles and more! Check out 6DoF here: https://www.youtube.com/6dofreviews Pete's Twitter: https://twitter.com/GlitchFandango Between Realities Podcast: https://www.youtube.com/watch?v=vyJUNyyQ7x8 Discord Server: https://discord.gg/94GMmP9yJg Merch! https://playtest-vr.creator-spring.com Want to be part of the show? Send in your questions at letstalkoculus@gmail.com Video Version: https://youtu.be/OEideSoz-88 Visit Patreon.com/letstalkoculus to help support the podcast and receive early access! Twitter: @playtest_vr | @samson143vr Main Channel: https://youtube.com/c/playtestvr Spreading VR: https://youtu.be/9BCu3lnnCKU

In this episode, I was fortunate to interview Dr Tom McKenzie, a researcher in the field of spatial audio and acoustics and a musician, who is currently working at the University of Edinburgh as a lecturer in Acoustics and Architectural Acoustics.At the time of the interview (November 2021), Tom was a postdoctoral researcher at the Aalto Acoustics Lab at the Aalto University in Finland.He was the last member of the lab interviewed by me. Previous interviews included:Leonardo Fierro,Jon Fagerström, andAlec Wright.Please, if you are enjoying the podcast, leave it a review on Apple Podcasts.And if you're looking for a simple checklist on what is needed to start writing code to process sound, download my free audio plugin developer checklist!Many thanks to Aalto Acoustics Lab for letting us record this interview in their office.Episode ContentsIn this podcast episode, you will learn:What are ambisonics?What is spatial audio?What are 6 degrees of freedom (6DoF)?What is important in spatial audio for a realistic impression?What is cross-talk cancellation?How does individualization look in virtual reality?

Eggscape is a mixed reality gaming prototype from the Argentinean 3Dar VR, film, & animation studio behind Gloomy Eyes and Paper Birds that leverages the black & white, mixed reality passthrough mode of the Meta Quest 2. It's a has a really compelling 2.5 platformer game mechanic where you're navigating a table-top scale egg character through a number of bridges and obstacles placed in a physical environment. It has a very similar vibe to Lucky's Tale, but rather than just a 2.5 POV, you're able to have the full 6DoF experience by moving your body through space in order to aid your 3D perspective judgments. It was a charming, innovative, & engaging enough experience to earn the 3rd place Special Jury Prize at Venice Immersive. I had a chance to sit down with co-founder German Heller to get the backstory of 3dar's evolution from animation to film to VR, and a sneak peak at some of the new frontiers of co-located gameplay that's enabled with these new mixed reality features on VR devices like the Meta Quest 2, Meta Quest Pro (coming soon), Lynx R1 (coming soon), and Pico 4 (also coming soon).

Welcome to episode #003 of the FuturePerfect Podcast where we talk with compelling people breaking new ground in art, media, and entertainment. This podcast is produced by FuturePerfect Studio, an extended reality studio creating immersive experiences for global audiences. Episodes are released every two weeks, visit our website futureperfect.studio for more details. The text version of this interview has been edited for length and clarity. Find the full audio version above or in your favorite podcast app.This week Wayne Ashley interviews Liz Rosenthal, curator of Venice Biennale's International Film Festival's Official Selection and Competition program Venice VR.We first met online back in 2020 when we participated as international jurors for the TAICCA immersive grant. And since then I've been following you and impressed with how fully you participate in this expanding field of VR and immersive content production. You're a curator, executive producer, mentor, incubator, CEO, and an international speaker, but you actually started out in film. How did you arrive at VR from your experimental practice in filmmaking?Liz Rosenthal: I got involved in cinema in my late twenties. I started making short films with an ex-partner. Then I lived in Edinburgh, Scotland where the most important film festival in the UK used to be, the Edinburgh Film Festival. And I got a job running the project finance market for the festival and I had to learn everything about the film business. At that time I was watching screeners of British films to include in the marketplace I was running and I found a film by a director called Christopher Nolan that had been made on no budget, and it was brilliant. No one knew about it. I then met somebody who was working with ultra low budget filmmakers in the US as a part of the independent film channel. He'd just met Chris [Nolan], literally hadn't seen the film and was asking me what great films are you seeing? He was running a finishing fund helping first-time and second-time filmmakers to make their first features. His big thing was talking about using digital video instead of using super 16. And thinking about how we could use available tools like these new prosumer cameras and later editing systems, which people weren't using at the time, like Final Cut Pro and Premiere. So I got involved in working with them and we hit it off obviously. We bonded over Chris' first film and we were very much at the forefront of using digital production tools. Then in the beginning of the 2000s, we got interested in what the internet and digital tools were going to do in terms of engagement, distribution, and new forms of creativity. And that's where I took off. When the company got shut down by the film channel we had done 13 feature films. I was excited about this area, because I thought, wow this was the place where it's going to get exciting.You and I talked about how important the internet was to both of our practices. The internet for me changed my whole trajectory. What effect did the emergence of the internet as a public media space have specifically on your practice?LR: Well, I think you'll probably get a clue from the name of my company, which I set up in 2006, called Power to the Pixel. I've always been someone who's interested in working with producers and artists and how they can get their work supported and out into the world and use the best tools, and the best ways to do that from a creative and a sustainability perspective. I was seeing the film business, like many businesses and sectors as they develop, get more and more fragmented and you get people siloed into different parts of these sectors doing different jobs. The relationship between the maker, the producer and the audience is completely distanced. And that's a real problem, both in terms of return-on-investment or impact for the producers, and also in terms of how the form develops. You've got to be in touch with the user and the user experience, or art forms kind of slow down or become irrelevant. So that really changed my practice. Suddenly you've got all these available tools, prosumer then, and now consumer tools. And I was thinking, how is this going to change the way that we make things and engage with audiences? Of course, being someone who's very much a producer and artist focused, I'm always looking at how new ecosystems have to be developed around these things. I take my hat off to people who start experimenting in this area and are curious.In the past, you've discussed VR as the result of a complex stream of influences, most specifically film, theater and video games. How do you see these influences come together in VR?LR: VR and immersive content or XR is the area that I'm now working on that completely consumes me and I don't have enough time to follow all the developments. VR has the cinematic qualities of a big screen in certain circumstances, and that can be both live-action shot 360 video, or it could be animation. The immensity of being in a whole space relates in some way to film. Filmmakers in the film community say: you've gotta see a film on a big screen. With VR it's way beyond that.And then there's a participatory, spatial, and free roam aspect of immersive theater. When you're in a virtual world and characters can interact with you in realtime. If you're designing realtime characters that are going to be interactive in terms of what you do as a player or a user then you're going to have to understand that realtime interactivity. There's also the influence of the interactivity and agency of games, and of course there are people from the visual arts, sound, and all types of interactive designers and UX experts.I'm conflating VR and XR. And I know that VR is only one set of technologies and creative practices within a much larger field. Can you briefly lay out what XR is so that our audiences understand that this is actually quite a complex range of technologies and practices?LR: XR, which often gets mistaken for the environmental movement [Extinction Rebellion], stands for extended reality. I would break XR into three different types of realities. The first type is AR or augmented reality, which you experience on a flat screen like phone or a tablet. This is 2D digital information that's layered over the real world. The second type is MR or mixed reality, that's 3D holographic information that has to be viewed on special mixed reality glasses. So for MR it's really only B2B solutions or enterprise, there's the HoloLens by Microsoft and the Magic Leap, both are very difficult and expensive devices. I've seen beautiful MR projects shown at festivals. With MR you have 3D information that you can move around and interact with, with your hands, and pick things up. It's very exciting, but you need a controlled environment to make it work. New smart glasses are starting to come out, the first big company that are a kind forerunner is Nreal who are doing deals with telco companies. I don't know if it's in the US or Canada yet, but it's in the UK and launched in Germany, Spain, Korea, and Japan. Those are consumer versions of the HoloLens, they're about $500 as opposed to about $2,500 or $3,000. And then the final type is VR or virtual reality, which completely dislocates you from the real world.Many people are going to assume that VR is confined only to a headset and involves a mostly private and singular experience, but you have really opened up quite an expansive range of ways that audiences can encounter this new medium. Layout for us the many forms and contexts that audiences might encounter VR at, for example, the Venice Biennale.LR: Amongst the other things I do, one of my main roles is curating Venice Immersive together with with a dear friend and colleague Michel Reilhac. We handle the immersive content competition section and official selection for the Venice International Film Festival, which is one of the four or five A-list film festivals. We are very lucky that the Venice Biennale, who also run the art and architecture events, but also the film festival, are very excited about embracing the medium. We have our own section and our own island where we can build up an exhibition and show all types of immersive experiences.I'll run through what that means, because I think a lot of people get a chance to see one VR project and they go, that's VR. We are talking about a set of many tools and technologies where you can create all kinds experiences and worlds. VR can be put into kind of two different categories, there's three degrees of freedom (3DOF) and six degrees of freedom (6DOF). In 3DOF, you're basically contained in a sphere. So you put on a headset and you can look around, but the field of distance between your eye and that sphere doesn't change. You kind of have no agency. Sometimes there's a bit of gaze interactivity with eye tracking or head tracking, but let's say you have no agency to change the world. You can't really interact with the what's happening. It plays out in the same way a film would. You have a subsection of 3DOF experiences that are live action. The creator shoots with a 360 camera that's fixed and you stitch together the images in postproduction.We've had some amazing 360 documentaries shown in Venice. For example, one work that's a big hit on the Meta Quest store is called Space Explorers: The ISS Experience by Felix and Paul. They make a beautiful live action documentary that's shot in the International Space Station. It's the biggest media project ever in space, it's quite remarkable. There are four episodes and it is extraordinary. It's 360 video, amazing quality and a moving experience. Moving on to 6DOF because a lot of people say 3DOF is not real VR. With 6DOF you are in a space where you have agency, you can move around the world, interact with things in the world, and be with other people in that world. You feel immersed and have a sense of presence. This is the most powerful thing about this medium is the sense of embodiment and presence. There's a wide range of different kinds of 6DOF experiences. You have single person experiences that have very little interactivity or agency, but you're in a spatial world, like the project Gloomy Eyes. This features beautiful animations and a kind of Tim Burton-esque type story between a zombie and a little girl in an incredible sort of diorama world. There's no agency, your eye is led around and you're in a spatial environment.Then you have things that are very complex, long hybrid kind of narrative games that feature hours and hours of gameplay. One of my favorite projects is Down the Rabbit Hole, which is made by a Swedish studio called Cortopia Studios. It's kind of a prequel to Alice in Wonderland and you're in this unbelievable animated world where you are moving this girl through the environment and she's meeting characters and it's just so much fun. It's puzzle game and it's so beautifully designed.Then the final category I'll go into is multiplayer social VR. This is what I've been doing over the last couple years and for Venice we had to make a completely virtual edition. My favorite platform is VRChat because it's closest to where people imagine the metaverse or this next spatial version of the internet is going. There's live theater performances and live music performances where you're there as an avatar with other people. And there are games, extraordinary art worlds, and performance worlds that can exist on social platforms or you can make a multiplayer standalone app where you can have multiple people in an experience. That's where I'm really excited about VR. When people say, especially cinema people, but it's a singular experience, you're trapped, and dislocated from the world and it's a solitary experience. I always find that weird. I think watching any piece of media that's not interactive is a solitary experience because it's you engaging with the medium. When I go to the cinema I'm not talking to someone asking what are you feeling? What are you doing? What are you feeling now? It's a solitary experience, I happen to be with other people. But in these virtual worlds you are with other people, exploring with them, collaborating, doing incredible things together in amazing avatars of your choice. Can you talk a bit about two other contexts: installation experiences and live motion capture for a virtual audience.LR: In Venice, the great thing is we're showing works that can only be shown on location. They can't be shown through a remote virtual platform. We've shown a number of these types of works that involve building complex sets and having complex technology where people can go into experiences together on site. The way this works is you have a VR headset connected to a backpack which is its own computer. This referred to as free roam, meaning you're free to move around the space and can see other people and interact with them including maybe actors, dancers, and performers. In Venice, I'll give you some examples of the kind of thing I'm talking about.Our biggest production was called The Horrifically Real Virtuality by a French group called DVgroup. They make these incredible experiences which involve actors and haptics and sets. The first experience by DVgroup we showed was called Alice, The Virtual Reality Play. DVgroup invited me to see the work at Cannes Film Festival and didn't tell me anything about. I went to this beautiful park and went through these red curtains into this beautiful room and put on a headset and few minutes into the experience I realized I wasn't talking to an animated character. I was talking to a real person who was represented by an avatar. What's happening is they are being realtime motion captured into a virtual environment that I'm in at the same time. And I'm realtime as well, you can full body track your participants.The second work was The Horrifically Real Virtuality where they led you into the world of American black and white B-movies where you met Ed Wood and Bela Lugosi shooting the last movie they did together. And it was a crazy descent that started in the real beautiful set and they captured images that you were capturing that you then went into through into a theater. We had three physical sets and we put on the VR headsets and then we went crazy down the rabbit hole into these different layers. There were six audience members and three to four actors. It was an hour long and was pretty astonishing.There's another experience I can tell you about called VR_I, it's a dance experience by a Swiss choreographer called Cie Gilles Jobin and Artanim. It was actually the first multiplayer live motion capture experience I tried and he is exceptional about experimenting with this medium. He motion captures his dancers and then there are avatars for six audience members. So what happens is you go into the experience with with a backpack that's connected to a VR headset. You realize you have your own avatar and there are dancers that are not in the same space, but you're not quite sure. You're in the same space with the other audience members and he's playing with scale and embodiment and it's incredible seeing what different audiences do.The dancers are in environments where they're the same height as you then there's moments when they're giants. And they're kind of almost playing with you. And it's an incredible experience. Suddenly being embodied and seeing other people you can interact with. People start dancing together in the scene. He has even the avatar for wheelchair users. The best way to explain these experiences is having a split screen where you've got footage of the person with the headset on and footage of what they see in the headset.In our previous conversations you've mentioned at least two critical reasons why VR and in particular world building is so important to you. One, it's potential for turning taken-for-granted narratives upside down and disrupting commonly held perceptions of our world. And two, the ability to embrace a kind of in-betweenness, this magnet for drawing together practitioners who just don't fit into any single category or role or skillset. Can you say more about this?LR: I came kind of late to this business and it seemed kind of crazy and dysfunctional and was kind of locked in. I could see these [digital] changes happening and how it was gonna blow apart how we engage with each other and how we communicate. So my natural inclination was to say hey everyone, look, this is coming, how can we adapt what we're doing to this? I have always been somebody who gets excited about the new and how it's gonna change and some people aren't. It took me a long while to realize this, that I like things that change. And change is kind of terrifying for some people. I'm not like that. I love the idea that we can adapt as human beings and change. And that's what makes me curious.I feel knowledge is fragmented into silos. And in a way we have loads of things that we can find out now because they're supposedly all online. But in way I sometimes think we've become dumber as human beings because our knowledge is fragmented. When you study now, it tends to be very specific and narrow. You can see that in computer science and also in medicine. When you look at medicine, you go to a doctor and they look at one part of your body. We are a system and we are connected to the outside and everything we do connects. And depending on your philosophy, some people will think, and I very much think this, we are connected to the universe.With world building, we're starting to build spatial environments that we can exist in, and embody, and be present in. We need all kinds of skills to do that. We talked about cinema, immersive theater and games being the three pillars. But we also want to think about how does this affect us? What is it gonna do to us? There are neuroscientists, psychologists, and people thinking about quantum physics, and there's people in healthcare and therapeutics.When you step out of your sector, you get labeled as somebody that doesn't really fit anywhere. I've seen it in people. The digital person at a TV company, or the digital person an arts organization or cultural organization or a big media company or studio, they're always the person who nobody really understands what they do. And they generally aren't given the IT and the operations to do anything creative. When there's a staffing cut or there's a strategy change, they are the first people to go. Or they get so fed up with having to explain things or find a reason to be in a company that they leave. Those in-between people are really needed. Because they help us adapt and view things in a bigger perspective. There are incredible disciplines that have been developed over decades and centuries that we need to respect and lines of thought and social and cultural commentary that is really important that needs to come into this environment. But it's about not seeing these people as peripheral people, but seeing that they are key to any practice or business.20 years ago, I began working with a variety of cultural institutions in the US who were seeking to expand their audiences through selective integration of new technologies into their programs. I experienced a profound resistance, almost a resentment, toward having to contend with these new technologies and creative processes. Have things changed? What are the points of contention that continue to circulate after all this time?LR: I think there's always this fear, fear is one of the things that drives people to do unfortunately, desperate things in the world. Fear of change is always difficult. We don't put these in-between people and really deep and strategic people who have an overview on where things are going culturally, technologically and socially, in the forefront of organizations and support them. It's still not happening because people are still in their media silos. And often what happens is people ask “what's the business model?” And you go, come on, this is the point! What you're doing is going to be severely hampered by not having the foresight and the strategy to develop your organization and practice. They're going to help you define that.I ran a big conference event that was a project finance market, a think tank for commissioners and financiers with leading artists and speakers, and people used to go, why should we fund that? What's the business model? I used to go, well, what's your business model? Because I came from film, I said, that's a destroyed business model. You cannot tell me that it's not. And you know, I'm not going to tell you what the business model is or you'll pay me loads of money, because people always expect you to just, in a networking event, suddenly explain the business model.What happens is obviously things crumble and people get scared. Then when there's money put into something, they generally rush towards it. There's always these hype curves of things and then suddenly traditional sectors go, oh god, we should be doing that. And then they may, but then it's usually a hype for a while and then they go, oh, well that was the load of rubbish, and let's forget about it. So that's what happens, they never give enough longevity or support.Are you experiencing these kind of challenges at the Venice Biennale?LR: The Biennale was amazing to support us in the first place. And that was the president who left a couple of years ago, Paolo Barata, he's a visionary in a way. And Alberto Barbera, who's the director of the film festival, who really listened to Michel and I about where this was going. And Paolo really understood philosophically what this meant and he wanted to be the person getting behind this new exciting art form. At the same point, the Biennale is an incredible organization, but divided into silos as well. I think in every organization it's really hard to do the new thing that kind of fits in-between so many things. We're in the film festival, so a lot of it rotates around the cinema industry. I've worked with a lot of film institutions, and it's always been hard. Outside of the US, in countries that have subsidy (government or soft subsidy for culture and media), it tends to be the film institutes who hold the purse strings. The government gives them their ministry of culture, gives the money to them, and some of them are further along than others, but most of them are thinking in film still, so it's quite hard.Can you discuss any projects, ideas or development that our audiences need to know. Can you tell me about any projects on the horizon that will be critical to this field?LR: It's incredible looking at these studios and artists who are making work, they're using new technologies, which are evolving the whole time. There's no standard business model for them to get financed or distributed or exhibited. And they're working so hard on all these different fronts and it's new creative practice they're developing. You know, it's hard enough making a film. And getting money for it. It's tough because you are putting together support from different sectors.So I'll talk about some areas where there have been some interesting things. I'm mad about social VR and VRChat. And I think it's an incredibly exciting space for people to get involved in. I know this is a very weird analogy because it sounds a bit basic, it's kind of like the YouTube of VR in a way, or the social of VR I should say, because you're on a platform where you can upload a world that you've designed in Unity. Or you can start building your avatars in a selection of different software and there's so much information in groups and the community. You can start by just visiting and getting into it because if you have PC you can go on desktop, but if you have a headset, obviously it's better. And a headset connect to a PC is even better. The world builders are kind of people who wouldn't consider themselves artists, but are doing these spectacular adventures. So now, pioneering artists are watching or starting to work with these mediums. So I'd say the live performance projects in the club scene in VRChat are amazing.Can you tell me about some of the live performances that we should look at or be aware of?LR: There was a work that won one of our main awards, our Lions back in 2020, it was called Finding Pandora X by Kiira Benzing, an amazing pioneering director based out of New York. This was pandemic led, so she'd done some amazing experiments and the year before we had something called Loveseat, it was a live performance for 50 people watching actors who were motion captured into a virtual world that was screened around us. So it was already combining live performance and virtual words. She went a step further with Finding Pandora X, it was a reworking of the myth of Pandora in VRChat in worlds they created. I think there's about 15 audience members and 3 actors who play the gods, so there's Zeus, Hera, and Pandora, and it was just exceptional. I tried it at the beginning of the pandemic and you learn to fly, they have a mechanism for flying. Because there's all kinds of things you can do in VRChat and they have all these plugins that people design and release into the community. So I was stuck in my flat, it was the first awful months in April 2020, and I was flying in VRChat above this amazing world. So we showed that and it was brilliant and won an award. Then something you may be able to see again because it's replaying, is one of the actresses who was in Finding Pandora X, Deirdre Lyons and her partner Stephen Butchko, did this project called Welcome to Respite. It's another performance set in VRChat that may have different runs still. We showed it in Venice last year, it's another beautifully designed world in VRChat.I want to talk about another thing that I love that we had in our events program last year, it was called Mycelia, and it is an incredible performance by a Canadian artist Nanotopia who makes music with mycelia or mushrooms in her studio in Canada. She was performing live into a VRChat world that was designed by an amazing community, it was five people from that community, the Meta Crew South Africa, who designed this incredible crystal light mushroom cave world. And she's performing in this incredible stage in the middle of this cave. They give you mycelia avatars and when you come in the she's performing live in an avatar with her mushrooms and mycelia through a very special MIDI system. And you're there in your mycelia bathing in this incredible world and it's one of my favorite things I've ever seen in VRChat.We talked about world building and I didn't answer that question about how this is really important. What kind of worlds are we going to build? And obviously a lot of what happens in these spaces is driven by dystopic visions from science fiction books and movies. And so many people who are in VR are, you know, huge fans of Snow Crash or Ready Player One. Or there's many dystopic visions we've seen of what's happening in the media, and they're so negative, the views of who we are as humanity. And I sometimes wonder, is our dystopia, the way we are now, have they been designed by artists [laughs]? Have people created them because they've seen them in books and movies? And in a way the architecture that's built, what's happening in the world, the pandemics, all these things, we've seen all these things. I think, why can't you have it a different way? The importance of what kind of worlds you build is so essential, that we think about what kind of virtual spaces we're going to be in. I'm not a technologist at all, my main reason for going into this area is because I was thinking, wow we're going to engage and communicate in such different ways. And it's really important to think ethically, environmentally, aesthetically and therapeutically how that's going to affect us as humans. These spaces are going to be really important. And there's spaces where they have all kinds of uses that help us think out ideas in spatial settings, solve problems, and embody to a certain extent, what it feels like to be in a situation, and give you some kind of insight, or they have therapeutic benefits that are really powerful. And so this is a really exciting space, the space between art and technology, our minds and bodies and the wellbeing of our minds and bodies and the world is really important.I think this is a great place to stop, with some very hopeful words. And Liz, thank you so much for meeting with us and I look forward to a lot more conversation with you.LR: It's a total pleasure. Thank you so much for the great conversation and looking forward to more, this is the beginning of many. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit futureperfect.substack.com

AGM-88 & F-4G Wild Weasel Story: Johnson, Larson, Pietrucha & BaxleyTip Jar: https://www.paypal.com/donate?hosted_button_id=GDJU6CM3GWZTNDiscussion on Discord: https://discord.gg/9vJ3hPYFQh00:00:00 Introduction  00:01:42 Basa & Starbaby Intros 00:04:13 Shrike and Standard ARM Limitations     00:15:50 Range Known Mode  00:18:58 6DoF    00:19:28 HARM Shots in Desert Storm 00:23:20 Crew Coordination  00:27:01 RAM    00:31:39 Shrike vs. HARM - Zip Code, Street Name, Apartment Number, Room and Hair Colour!      00:36:29 Tech Rep Rivalry  00:38:18 Range Qualities   00:38:33 AGM-88A Range   00:42:39 Off Boresight Capability 00:46:33 Advanced HARMS   00:48:41 Smartt SAM Operators  00:49:45 Desert Storm   00:51:42 Electronic Combat Triad 01:10:12 Red Flag   01:12:52 Iraqi Assessment  01:15:06 Suppress or Destroy 01:22:23 Dynamic Targeting  01:29:23 Wrap UpSupport the show

We've often said that open source is for more than just software, and on this episode Project North Star's Bryan Chris Brown is here to prove it with a freely available, modifiable design for an augmented reality headset you can build yourself. Join us for a discussion about topics like the ins and outs of open hardware design, sourcing parts from unlikely places, printing lenses out of resin, doing architecture work in the Unreal Engine, how standards like OpenXR fit into the picture, and a whole lot more.Check out Project North Star's extensive community documentation, and follow Bryan on Twitter.The FOSS Pod is brought to you by Google Open Source. Find out more at https://opensource.google

In this episode of the Immersive Audio Podcast, Oliver Kadel and Monica Bolles are joined by the director of the Applied Psychoacoustics Laboratory at the University of Huddersfield – Hyunkook Lee. Dr Hyunkook Lee is a Reader (i.e., Associate Professor) in Music Technology and the Director of the Applied Psychoacoustics Laboratory, University of Huddersfield, U.K. His research over the last 10 years contributed to advancing the understanding of three-dimensional (3D) audio perception and developing new 3D capture and reproduction techniques. He has invented various psychoacoustics-based 3D microphone arrays including PCMA-3D and ESMA-3D, whose principle for height microphone configuration has been adopted for Schoep's award-winning ORTF-3D array. Recently, he has been focusing on researching and developing perceptually optimised techniques of 6DoF audio rendering for extended reality applications. He is also currently leading a multidisciplinary project that connects immersive arts and technologies. From 2006 to 2010, he was a Senior Research Engineer in audio R&D with LG Electronics, South Korea, where he participated in the standardisations of MPEG audio codecs and developed spatial audio algorithms for mobile devices. He is an Associate Technical Editor of the Journal of the Audio Engineering Society (AES). He co-edited a recently published book “3D Audio” (Routledge). Hyunkook is a Fellow of the AES, Vice-Chair of the AES High-Resolution Audio Technical Committee, and has recently been elected as a Governor of the AES for 2022-2023. Dr Lee received a B. Mus (Hons) degree in music and sound recording (Tonmeister) from the University of Surrey, U.K., in 2002 and a PhD in spatial audio psychoacoustics from the Institute of Sound Recording (IoSR), the University of Surrey in 2006. In this episode, we discuss Hyunkook's recent research on “A Conceptual Model of Immersive Experience in Extended Reality” and its influence on spatial audio. This episode was produced by Oliver Kadel and Emma Rees and included music by Rhythm Scott. For extended show notes and more information on this episode go to https://www.1618digital.com/immersive-audio-podcast-episode-59-hyunkook-lee-a-conceptual-model-of-immersive-experience-in-extended-reality/ If you enjoy the podcast and would like to show your support please consider becoming a Patreon. Not only are you supporting us, but you will also get special access to bonus content and much more. Find out more on our official Patreon page - www.patreon.com/immersiveaudiopodcast We thank you kindly in advance! We want to hear from you! We value our community and would appreciate it if you would take our very quick survey and help us make the Immersive Audio Podcast even better: surveymonkey.co.uk/r/3Y9B2MJ Thank you! You can follow the podcast on Twitter @IAudioPodcast for regular updates and content or get in touch via podcast@1618digital.com

My company website: www. panogs.com The longest-running VR organization: www.ivrpa.org The Making of the One World Trade Center Panorama | TIME https://youtu.be/z3ZG1kZ0dsE Capturing Everest VR for Time / Life and Sports Illustrated - https://vimeo.com/216101186 Links for the Yosemite Extreme Panoramic Imaging Project: Video overview: https://youtu.be/ubJgSMEyS-E Yosemite Rock Fall Geological Survey Usage: https://www.nps.gov/yose/learn/nature/panoramic.htm Other things mentioned: Panogs 50-Year Space Needle Panocam & the Portland Tower Cam installation: https://youtu.be/-rmvWVoYz1I Rememory - an application that records spatio-temporal data (time-series 3D capture data) https://rememory.jp/ Kandao Obsidian 360 6DOF footage seen in VR using the Pseudoscience 6DoF Viewer. https://youtu.be/Bo7uYEx9OhE Holographic Lightfield Display Products: LumePad https://www.leiainc.com/products/lume-pad/ Macropod Pro 3D to create PHOTOMACROGRAPHY https://macroscopicsolutions.com/product/the-macropod-pro-3d/ Holographic Lightfield Display Products: Looking Glass https://medium.com/through-the-looking-glass/introducing-looking-glass-portrait-your-first-personal-holographic-display-6c3b1fe4a05 --- Send in a voice message: https://anchor.fm/thinkfuture/message Support this podcast: https://anchor.fm/thinkfuture/support

What does DoF stand for? Is 6 better than 3? What's the difference between orientation and positional tracking? These may be some of the questions you are asking when it comes to getting into VR. Take a few minutes with VRLY CEO | Founder Tyler Irons as he goes over the difference. ► Learn More @ getvrly.com ► YouTube Follow - VRLY ► Instagram Follow - getVRLY ►Twitter Follow - getVRLY ► Apple Podcast Follow - Tyler Irons TylerIrons.com #TylerIrons

Microsoft anuncia nuevas versiones de Office sin suscripción Microsoft ha anunciado una actualización de su paquete de productividad, Office 2021, para consumidores junto con una variante específicamente orientada a las empresas, Office Long Term Servicing Channel. La novedad es que Microsoft ha eliminado la suscripción. Al igual que la versión anterior, Office 2019, Office 2021 es la opción independiente de Microsoft para las personas que no desean comprar una suscripción para Microsoft 365 habilitada para la nube de la compañía. Office 2021 se lanzará en algún momento a finales de este año tanto para Mac como para Windows y su lanzamiento completo está programado para finales de este mismo año. Microsoft brindará soporte para ambos productos durante cinco años y cada uno vendrá con OneNote y estará disponible en versiones de 32 y 64 bits. La compañía no ofreció muchos detalles sobre qué tipo de nuevas funciones y actualizaciones veremos con Office 2021, pero sí confirmó muchas mejoras que van a venir con Office LTSC. Las gafas de realidad aumentada de Qualcomm llegarán en 2021: conectadas al móvil y con proyección en la pared de pantallas virtuales Qualcomm ha presentado las nuevas gafas Snapdragon XR1, su modelo de referencia para realidad aumentada. Las "Smart viewer" son unas gafas con un diseño bastante estilizado, que se conectarán al móvil o al ordenador vía USB-C. Tenemos unas gafas con dos pantallas de 0,71 pulgadas, con tecnología micro-OLED de BOE y una tasa de refresco de hasta 90 Hz. La resolución de esta nueva generación ha mejorado, alcanzando los 1.920 x 1.080 píxeles en cada ojo y un angular de 45 grados. En el interior se encuentra el chipset Snapdragon XR1, especialmente creado para este tipo de dispositivos. A nivel de sensores, las gafas XR1 vienen muy bien equipadas. Tenemos doble cámara con sensor del movimiento (6DoF), un sensor de ocho megapíxeles RGB de 120º y una cámara HD con un campo de 150 grados. Mientras que para el sonido, las gafas llegan con hasta tres micrófonos y doble altavoz. --- Send in a voice message: https://anchor.fm/elgordocircuito/message

Kyle & Ian discuss the compact VR headsets on the horizon and new laptops that offer a great path into PC VR.

⭐️ Acompanhe o canal no Telegram: https://t.me/noticiasdomkt Facebook amplia programa de monetização, inclusive no Brasil. https://techcrunch.com/2020/06/29/facebook-expands-fan-subscriptions Google descobre como fazer streaming de conteúdo imersivo (6DoF) em 360º. https://uploadvr.com/google-lightfield-camera-compression/ Reddit e Twitch banem canais relacionados a Donald Trump. https://www.theverge.com/2020/6/29/21304947/reddit-ban-subreddits-the-donald-chapo-trap-house-new-content-policy-rules https://www.theverge.com/2020/6/29/21307145/twitch-donald-trump-ban-campaign-account Google vai começar a exibir "anúncios gratuitos" de produtos nos resultados de busca. https://techcrunch.com/2020/06/29/google-brings-free-product-listings-to-its-main-google-search-results/ Índia proíbe TikTok e dezenas de outros aplicativos chineses. https://techcrunch.com/2020/06/29/india-bans-tiktok-dozens-of-other-chinese-apps/ Waze recebe grande atualização e passa a mostrar o "humor" dos usuários. https://techcrunch.com/2020/06/29/waze-gets-a-big-visual-update-with-a-focus-on-driver-emotions/ Siga o Notícias do Marketing: https://instagram.com/noticiasdomkt/ https://twitter.com/noticiasdomkt/

Jeffrey is a filmmaker, engineer, and virtual reality pioneer. As the founder and CEO of Positron, he created Voyager®. Jeffrey and his team have worked with studios such as Universal, DreamWorks, Disney, Warner Bros, Adult Swim, Felix & Paul, and others to craft premium VR content for XR Cinemas using the Voyager platform. In this episode of the VRTL podcast, we talked about the impressive quality of the submissions, the go-to-market strategy of Positron and how the business model for LBE works precisely.

The latest generation of XR technologies introduces radical new capabilities, from multi-user tracking in massive spaces, to 6DOF standalone headsets, to the ability to track hands, eyes, and lips. HTC’s Alvin Wang Graylin discusses what this means for everything from automotive design to helping children learn about the universe. Alvin Wang Graylin is an industry leader, evangelist and passionate driver of XR technologies, particularly virtual reality. As the China President at HTC, he leads all aspects of the company’s VR and smartphone business in the region. Alan: Today’s guest is an industry leader, evangelist and passionate driver of XR technologies, and particular virtual reality, Mr. Alvin Wang-Graylin. Mr. Graylin is the China President at HTC, leading all aspects of the Vive/VR (VIVE.com) and the Smartphone businesses in the region. For those of you not familiar with HTC Vive, VIVE is a first-of-its-kind virtual reality platform, built and optimized for room-scale VR and true-to-life interactions. Delivering on the promise of VR with game-changing technology and best-in-class content, VIVE has created the strongest ecosystem for VR hardware and software, bringing VR to consumers, developers and enterprises alike. He is also currently Vice-Chairman of the Industry of Virtual Reality Alliance (IVRA.com) with 300+ company members, President of the $18B Virtual Reality Venture Capital Alliance (VRVCA.com) and oversees the Vive X VR Accelerators (VIVEX.co) in Beijing, Shenzhen and Tel Aviv. Mr. Graylin was born in China and educated in the US. He received his MS in computer science from MIT and MBA from MIT's Sloan School of Management. Mr. Graylin graduated top of his department with a BS in electrical engineering from the University of Washington, where he had specialized in VR and AI over two decades ago under the tutelage of VR pioneer Tom Furness. Please welcome to the show Mr. Alvin Wang-Graylin. Alvin: Hi, how are you doing, Alan? Alan: I’m fantastic. There we go, we got you now. Awesome. Where are you calling in from? Alvin: I’m in Beijing, China. Alan: Beijing right now. And what time is it? It’s gotta be in the middle of the night, I think. Alvin: About 10:30 PM. Alan: Oh, well thank you so much for taking the time to record this with us. I’m going to jump right into it. For the people listening, you know, really, really exciting things happening at HTC right now, and you just held your fourth annual VIVE Ecosystem Conference, or VEC conference in Shenzhen. Can you maybe speak to some of the announcements and how their impact is going to really impact business use cases of VR? Alvin: Yeah, I’m happy to jump right in. We just had our yearly biggest conference of the year, and had about a thousand people come in, and about a hundred press, and essentially all the industry folks that are in China – and actually, quite a few folks from around Asia and even parts of the US – came. People, from the developers, from our sales channels, our accessory partners. A lot of investment companies, as well as Chinese carriers, governmental organizations that are involved with high tech. Essentially, what we do every year is gather together all of the leading players in the industry and try to create a unified direction. And the key direction that we were trying to point to this year is something called multi-mode VR. That’s when, you know, VR can be used, not just for one way of connecting, but it could be connected to your PC. It could be connected to 5G cloud VR. It can be connected to a console, or a 360 streaming camera, etc. So it’s a very exciting time for us in the industry, that these n

The latest generation of XR technologies introduces radical new capabilities, from multi-user tracking in massive spaces, to 6DOF standalone headsets, to the ability to track hands, eyes, and lips. HTC’s Alvin Wang Graylin discusses what this means for everything from automotive design to helping children learn about the universe. Alvin Wang Graylin is an industry leader, evangelist and passionate driver of XR technologies, particularly virtual reality. As the China President at HTC, he leads all aspects of the company’s VR and smartphone business in the region. Alan: Today’s guest is an industry leader, evangelist and passionate driver of XR technologies, and particular virtual reality, Mr. Alvin Wang-Graylin. Mr. Graylin is the China President at HTC, leading all aspects of the Vive/VR (VIVE.com) and the Smartphone businesses in the region. For those of you not familiar with HTC Vive, VIVE is a first-of-its-kind virtual reality platform, built and optimized for room-scale VR and true-to-life interactions. Delivering on the promise of VR with game-changing technology and best-in-class content, VIVE has created the strongest ecosystem for VR hardware and software, bringing VR to consumers, developers and enterprises alike. He is also currently Vice-Chairman of the Industry of Virtual Reality Alliance (IVRA.com) with 300+ company members, President of the $18B Virtual Reality Venture Capital Alliance (VRVCA.com) and oversees the Vive X VR Accelerators (VIVEX.co) in Beijing, Shenzhen and Tel Aviv. Mr. Graylin was born in China and educated in the US. He received his MS in computer science from MIT and MBA from MIT’s Sloan School of Management. Mr. Graylin graduated top of his department with a BS in electrical engineering from the University of Washington, where he had specialized in VR and AI over two decades ago under the tutelage of VR pioneer Tom Furness. Please welcome to the show Mr. Alvin Wang-Graylin. Alvin: Hi, how are you doing, Alan? Alan: I’m fantastic. There we go, we got you now. Awesome. Where are you calling in from? Alvin: I’m in Beijing, China. Alan: Beijing right now. And what time is it? It’s gotta be in the middle of the night, I think. Alvin: About 10:30 PM. Alan: Oh, well thank you so much for taking the time to record this with us. I’m going to jump right into it. For the people listening, you know, really, really exciting things happening at HTC right now, and you just held your fourth annual VIVE Ecosystem Conference, or VEC conference in Shenzhen. Can you maybe speak to some of the announcements and how their impact is going to really impact business use cases of VR? Alvin: Yeah, I’m happy to jump right in. We just had our yearly biggest conference of the year, and had about a thousand people come in, and about a hundred press, and essentially all the industry folks that are in China – and actually, quite a few folks from around Asia and even parts of the US – came. People, from the developers, from our sales channels, our accessory partners. A lot of investment companies, as well as Chinese carriers, governmental organizations that are involved with high tech. Essentially, what we do every year is gather together all of the leading players in the industry and try to create a unified direction. And the key direction that we were trying to point to this year is something called multi-mode VR. That’s when, you know, VR can be used, not just for one way of connecting, but it could be connected to your PC. It could be connected to 5G cloud VR. It can be connected to a console, or a 360 streaming camera, etc. So it’s a very exciting time for us in the industry, that these n

“Clearly, the killer use case, the most valuable thing 6DoF can do is allow two or more humans to interact—just be with each other from wherever they are.” The internet has succeeded in connecting people to machines and information. So, what's missing? Anjney Midha argues that the element of human interaction is what the web lacks, and he is on a mission to develop the tools creators can use to design shared experiences online through XR. Anjney Midha is the cofounder and CEO of Ubiquity6, a startup using computer vision to create multiplayer experiences for augmented and virtual reality. Founded by alums from Metamind, Facebook, Tesla, Twitter and Stanford, the Ubiquity team is leveraging spatial computing to bring people together in valuable new ways. Anjney began his career in venture as Founding Partner of KPCB Edge, a Kleiner Perkins fund formed to support founders in AR, VR and computer vision. Today, Anjney joins us to share his background in frontier tech and explain how his experience in VC led to the creation of Ubiquity6. He offers insight on the problems in venture capital, describing how good and bad investors can impact a startup. Anjney also discusses the particular challenges of the deep tech space and the futility of the AR versus VR debate. Listen in to understand the tech advancements that have facilitated networked capabilities and learn how Ubiquity6 is solving for shared experiences—at six degrees of freedom. Topics Covered Anjney's background in frontier tech Formed fund within Kleiner (AR, VR + computer vision) Influenced by Bing Gordon, Mike Abbott Time spent investing AND building software Founded Ubiquity6 to solve for shared experiences Anjney's take on good vs. bad investors Great investors = 100X or more Bad investors destroy value More pretenders than ever Look at track record of success, failure How Anjney communicates with investors Text message, reply within 10 minutes Best investors view as service industry The role of Ubiquity6 in solving for shared experiences Serve creators with tools Launch own experiences ‘Shared AR in persistent way' Anjney's insight around the challenges of deep tech Timing (invest in real tech that doesn't exist) Bring research to market in compelling way How Anjney built a tribe of support Early-stage founders vocal about problems Obvious from listening to early adopters Why Anjney is excited about audio As powerful, immersive as visual AR Shared audio channels for consumers Why Anjney believes AR vs. VR is a false debate Different viewing modes of same experience High level of abstraction = unproductive debate The positive mass market signals for Anjney and his company ARKit, ARCore (networked AR) On-device capabilities to shared capabilities Connect with Anjney Ubiquity6 https://ubiquity6.com/ Ubiquity6 on Medium https://medium.com/ubiquity6 Ubiquity6 on Twitter https://twitter.com/ubiquity_6 Ubiquity6 on LinkedIn https://www.linkedin.com/company/ubiquity6/ Anjney on Medium https://medium.com/@anjneymidha Anjney on Twitter https://twitter.com/anjneymidha Anjney on LinkedIn https://www.linkedin.com/in/anjney/ Resources Kleiner Perkins https://www.kleinerperkins.com/ Bing Gordon https://www.kleinerperkins.com/people/bing-gordon/ Mike Abbott https://www.linkedin.com/in/michaelabbott/ Virtual Human Interaction Lab https://vhil.stanford.edu/ Jeremy Bailenson https://vhil.stanford.edu/faculty-and-staff/ Adam Arrigo https://www.linkedin.com/in/adam-arrigo-b4637620/ TheWaveVR http://thewavevr.com/ LYNX Capital https://www.lynxtrading.com/ Benchmark Capital http://www.benchmark.com/ Index Ventures https://www.indexventures.com/ Vinod Khosla Interview https://blog.ycombinator.com/vinod-khosla-on-how-to-build-the-future/ John Doerr https://www.kleinerperkins.com/people/john-doerr Marc Andreessen on a16z Podcast https://www.youtube.com/watch?v=O91S1NL-B0Q&t=14m34s ARKit https://developer.apple.com/arkit/ ARCore https://developers.google.com/ar/ Connect with Boost VC Boost VC Website https://www.boost.vc/ Boost VC on Facebook https://www.facebook.com/boostvc/ Boost VC on Twitter https://twitter.com/BoostVC

In the first-ever VRTL podcast, Billy Mello, Sound Designer and principal with Lucha Libre, speaks with Editor-in-Chief, Justine Harcourt de Tourville, about sound for VR, 6DoF, HRTF and the lack of human earlids.

Episode 62 of the FReality Podcast

Primo episodio delle mie VR experience dove condividerò con voi le esperienze che ho fatto e farò in realtà virtuale. Dedicato principalmente ad esperienze con forte compnente narrativa VR experience vuole raccontare le mie impressioni e magari qualche informazione in più.Youtube: http://bit.ly/2jKpXovFacebook: https://www.facebook.com/fluido.tv/Twitter: https://twitter.com/fluidotvWebsite: https://www.fluido.tv360VR blog: https://360.fluido.tv

Episode 59 of the FReality Podcast

This week on the Friday News Update: - Oculus announces the Quest headset, a standalone VR headset with four sensors for room tracking and 6DOF, plus a Star Wars VR experience called 'Vader Immortal' for the Quest, YouTube VR for the Oculus Go and Gear VR and TV casting for the Go - Office 365 gets Microsoft Search, a universal search engine for your Office 365 files and resources, Ideas, an AI to help you make your PowerPoint or Excel spreadsheet, background blurring for Teams video chats and more - Google gets some new features, including AI-made Stories, recent pages visited from Google and Google Lens on the mobile Google Images site - LG reveal some of the specs and the design of the V40 ThinQ - The OnePlus 6T will have a bigger battery - iPhone Xs users are already encountering problems Get every episode of the Friday News Update with the Friday News Update Alexa Flash Briefing

Daydream 6DoF controllers (Experimental) The experimental Daydream 6DoF controllers allow you to build 6DoF experiences for the Lenovo Mirage Solo with Daydream. These controllers enable natural and intuitive controls for interacting with virtual objects, such as allowing users to pick up and manipulate virtual objects. listen for the full scoop --- Support this podcast: https://anchor.fm/pixel-sultan/support

Nerd alert: Host PJ Jacobowitz gets the background on the tech and terms behind augmented reality, virtual reality, and extended reality from guests Hiren Bhinde and Thao Le, from the XR product management and marketing teams at Qualcomm Technologies. They cover 3DOF, 6DOF, sensors, gyroscopes, room scale, and computer vision — and PJ reveals an obsession with depth sensing. This episode is also for you if: • You think XR is just for gaming. • You don’t know what a SLAM algorithm is, or what that has to do with the Drew Barrymore and Adam Sandler movie 50 First Dates. • You wonder how XR could change the world.

This week, we hit you with a full show, crammed with new and noteworthy titles (chief among them, "Arma 3" finally being playable on Linux), a full complement of news and updates ("Road Redemption" getting a major overhaul, etc.), and then baste your face off with the space-blasterizing 6DOF rogue-like love-letter to "Descent: Freespace," "Everspace." AS EVER: Check us out on our twitch stream (with tons of VODs as well) at: www.twitch.com/skookiesprite OR VISIT US at our website at: www.bestlinuxgames.com --Games In This Week's Episode:--- Everspace $37.47 (-25% for Ultimate Edition, includes "Encounters" DLC) https://store.steampowered.com/app/396750/EVERSPACE/ Road Redemption $9.99 (150% through July 19) https://store.steampowered.com/app/300380/Road_Redemption/ Arma 3 $39.99 (limited linux multiplayer compatability through the development branch) https://store.steampowered.com/app/107410/Arma_3/ Slime-San Superslime Edition $14.99 (free demo also available) https://store.steampowered.com/app/473530/Slimesan_Superslime_Edition/ The Free One's $13.49 (-10% through July 19) https://store.steampowered.com/app/670350/The_Free_Ones/

This week, we take a look at the opposite end of the (STILL ONGOING) Steam Summer Sale (2018): we talk about some of the games we bought and have been playing all week (but didn't know previously. Chief among them is "EVERSPACE," the excellent "Descent: Freespace"-meets-"FTL"-meets-arcade-in-cockpit-space-sim/6DOF roguelike. Also, "Zaccaria Pinball," (get it while it's on sale, or never get it at all), "I Hate Running Backwards" ("Serious Sam" meets "Minecraft" meets "Ikari Warriors" meets BACKWARDS), amongst several other exciting titles. See us livestream constantly on our twitch channel: www.twitch.tv/skookiesprite Visit the columns section of the website for last week's complete list of Steam Summer Sale (2018) best deals and picks at: www.bestlinuxgames.com https://store.steampowered.com/app/396750/EVERSPACE/ https://store.steampowered.com/app/444930/Zaccaria_Pinball/ https://store.steampowered.com/app/575820/I_Hate_Running_Backwards/ https://store.steampowered.com/app/684320/HOT_PINK/ https://store.steampowered.com/app/345860/Super_Galaxy_Squadron_EX_Turbo/

Episode 38 of the VR Inside Podcast, a weekly virtual reality podcast discussing the latest news from the metaverse.

On this week's session, I'm joined by Lon Grohs from Chaos Group in Los Angeles. You probably know Lon from his days at Neoscape, but today he's an integral member of the Chaos Group executive team — overseeing company strategy, brand, and founder of the Chaos Group Labs. On this session, we focus mainly on the six degrees of freedom in VR as well as upcoming projects that are cooking up in the Chaos Group Labs. He'll be in attendance at the SOA Academy Day this weekend, 6-7 October 2017. Here is your chance to get to know a little more about Lon before then.  Big News in VR We kick off this session with big news — Chaos Group just announced that they would be joining forces with Epic Games to make V-Ray for Unreal Engine. Lon says it's been on their radar for awhile, and now it's finally happening. The goal with this merger is to make the dream of seeing ArchViz projects in real-time a reality. Although a timeline isn't in place yet, they're working to create as many ways as possible to improve the AR and VR experience by building a bridge to the real-time engines their customers are using. Six Degrees of Freedom (6DoF) Lon also shares their plans to open up the doors to VR from three degrees to six degrees of freedom. Six degrees of freedom will give architects and their clients the ability to move around freely in their renderings. Lon calls this a “room scale” experience, and the most natural experience that you can have in a virtual space. He shares the technologies that will create the best VR experience, including Nozon and Lytro, and the differences between the two. Artist or Client — Who's Using VR? In my experience, VR is more user-friendly for the artist than it is for the client. When I asked Lon who should expect to have the most significant experience with these technologies, he told me it is for everyone. From the artists and their team to the client presentations, their goal is to create a technology that can easily be used throughout the entire project. Although still in the experimental phases of creating the six degrees of freedom in every VR experience, Lon and his partners at Chaos Group are definitely well on their way to figuring it all out. We discuss the role that architectural education had in Lon's career, upcoming projects, new technologies, and some of Lon's biggest ideas yet. A whole lot is coming down the pipeline at Chaos Group, and you can hear all about inside this session of The SpectRoom with Lon Grohs. Key Takeaways [02:30] Big News in real-time and VR [07:40] What does six degrees of freedom look and feel like? [11:18] Achieving the most natural experience you can have in a photorealistic space. [12:27] Technologies that create the best VR experience. [21:43] Using VR from project beginning to end. [26:00] Lon's work at Chaos Group. [30:17] Upcoming projects and technologies. [32:57] The role architectural education had in Lon's career. [41:18] Transitioning from Neoscape to Chaos Group. [45:26] Looking inside Chaos Group Labs. [47:38] Hiring info and how you can connect with Lon. Main Quotes “VR is an architectural superpower.”  — Lon Grohs “Showing a still image will always work.” — Ronen Bekerman “I want to see ray-traced AR in a meaningful, fast way.” — Lon Grohs “It's very easy to have too many ideas.” — Lon Grohs Software Mentions V-Ray Corona Renderer Presenz Starvr Unreal Engine Turbosquid Name Dropping Chaos Group Nozon Starbreeze Lytro Neoscape Chaos Group Labs Chaos Group Blog Chaos Group Podcast Sponsor Yulio AXYZ Design