Because creative inspiration comes from the world around us, from our experiences — shared and individual — we post a bunch of things here. Whether it’s updates from the team, behind-the-scenes insights on projects, general inspiration, or just pretty things, this is the best place to get and stay inspired.
Supernaut is a design and animation studio in Sydney, Wollongong and Canberra.
In a busy life, Copi is a father who tries to teach the right way to his son, Paste.
But… what is the correct path?
Global virtual reality revenues will reach $7.17 billion by the end of this year, according to a new report by Greenlight Insights, which is also predicting that global VR revenues will total close to $75 billion by 2021.
More than 65 percent of all VR revenues will come from headset sales this year, according to Greenlight. Consumer content will make up for around 12 percent, and VR cameras will make up another 11.6 percent. Over the next five years, the revenue split will slowly shift, with enterprise — think VR for construction companies, education etc. — making up for 24.2 percent of all revenue in 2021.
Greenlight also forecast that location-based virtual reality in malls and movie theaters is going to grow into a significant part of the industry. In 2017, location-based VR will bring in $222 million worldwide; by 2021, that amount will have grown to almost $1.2 billion.
These estimates have to be taken with a grain of salt — it’s a nascent industry, after all. Adding to the uncertainty is the fact that many of the major headset manufacturers, including Oculus, HTC and Google, have yet to release any actual sales numbers for their devices.
Data shared by adult VR video company last week suggested that there may be a reason for why some of the manufacturers have yet to release any sales numbers. Samsung’s Gear VR, of which the company has sold more than 5 million units thus far, outperformed Google’s Daydream VR headset by 13X during the first three months of this year, according to Badoink.
Producing good computer animation can be a lengthy and expensive process. But what if there were ways of speeding up the production time without reducing quality?
French animator Michaël Bolufer has attempted to do just that by adopting the Unity game engine to complete Mr. Carton, a 13 x 2-minute series of shorts. The entire series is available to watch through France Televisions’ Studio 4.
Baobab Studios, the well-funded Virtual-reality animation startup founded by Madagascar and Antz co-director Eric Darnell and Zynga exec Maureen Fan, has announced its first episodic virtual reality series called Rainbow Crow. The first episode will premiere next weekat the Tribeca Film Festival.
Inspired by Native American folklore, the story is follows a bird “with the most dazzling plumage and mellifluous voice, who, after the planet turns dark and cold, must journey far from home to bring light back to the world.” Eric Darnell is directing the project. No public release date has been set for the series, and the number of episodes is not yet determined though the final project will be featurette-length.
Always awesome work … by Art & Graft
A stunning feat in VFX and mocap (well actually a whole range of animation, visualisation, cameras and artists used to create the truly stunning effect).
An animated short film, narrated by two asylum-seeking men detained in Australia’s Manus Island Offshore Processing Centre, recounting the dangerous journeys that brought them to the island and their memories of the riot that erupted in 2014.
In July 2013, the Australian Government introduced a controversial immigration policy, transferring asylum seekers arriving by boat to remote offshore detention centres on foreign Pacific islands. Seven months later, the Manus Island centre erupted in violence when police and guards put down protests with sticks, machetes and guns, and 23 year-old asylum seeker Reza Barati was killed.
We spoke to Behrouz and Omar, who are currently detained on Manus Island. This film contains recordings of these conversations.
AWARDS AND SCREENINGS:
WINNER: Best Short Documentary, Melbourne International Film Festival 2015
NOMINATED: Best Animation, Raindance 2015
SPECIAL RECOGNITION FOR ANIMATION: San Francisco International Short Film Festival 2015
SHORT DOCUMENTARY COMPETITION: Flickerfest 2015
OFFICIAL SELECTION: Palm Springs Shorts Fest 2015
OFFICIAL SELECTION: British Animation Film Festival 2015
OFFICIAL SELECTION: Interfilm, Berlin 2015
View the full film here: vimeo.com/152158702
Thanks for being a part of another great chapter for the Supernaut team in 2015 — as we head toward our fourth year!
We hope you have a safe, happy and relaxing wrap up for year and wish you all the best for the new year ahead.
LA-based artist Refik Anadol has turned the media wall of the 350 Mission Building in San Francisco into otherworldly digital sculptures. The public art work is called Virtual Depictions and uses parametric data from the city to create the stunning visuals.
To do this Anadol used publicly available frozen datasets — on everything from transportation to city management, museum data and housing —put online by the city of San Francisco as part of their open data portal initiative SF OpenData. Meant for developers, analysts, residents, and whoever else wants to use it, Anadol combined it with Twitter’s real-time API service.
The frozen sets of civic data and pedestrians on the urban streetscape are combined with the real-time geolocated Twitter tags — and 3D point cloud data — fed through toolkit VVVV and various software including Cinema4D, Rhino, and Softimage XSI, to create dynamic visuals that are never the same twice.
A stunning combination of restrained animation/motion graphics and live action dancers.
The world’s smallest chef cooks a typical fish dish, ‘Bouillabaisse’… Bon appétit!
For this project, Skullmapping experimented with projection onto a dinner table — making use of a combination of 3D animation and motion capture, a miniature chef turns your dish into a projected grill.
Original Film commissioned by Ideal Standard. For ‘An Interpretation of Perception’, I worked with raw EEG data collected by Ideal Standard that displays how the brain reacts to beauty vs functionality. I used the topographical data graphs as a starting point to bring the results to life using real world imagery. The movement is organic and familiar and representative of the brain waves they are associated with: sharp and erratic for the Beta waves and slow and milky for the Theta waves. The imagery takes the viewer back inside the brain whilst simultaneously reminding them of the beautiful and functional elements so often seen in nature.