"More Than Meets The Eye" Animated VR Experience

Reworking some of the earlier scenes, as the element that will unite all three worlds is the spawn camera. This is one continuous camera that will be animated across all three environments. Meaning that I will need to re-animate the camera in Aaron's world, so the view will move seamlessly from Sally's world to Aaron's. The camera capabilities at the moment do not allow for views to jump from one camera to another. I've duplicated the tube train, so that there is a moving train that arrives at the platform, then a duplicate static train, without transform keys, has been nested into the animated spawn camera group. This means that the tube train moves exactly with the camera, giving the viewing the illusion of being on the train. This is a much more efficient and accurate method, compared to my original method of creating matching view finders. I've reanimated the passenger figures today too. Using the anim brush each character was drawn across a series of frames. ...

Reimporting the escalator asset into a new scene. The transition between Sally's world will be an escalator that arrives slap bang in the midst of Piccadilly Circus. Taxis driving past, rain, road water splashes and an animated bus with moving colour to represent metal catching surrounding lighting, are the immediate scene at the top of the escalator. The spawn camera is set on the escalator and, using transform animation keys, moves slowly as if the viewer is on the escalator. A stepped interpolation, meaning a jump between animation movements, rather than for example the smooth transition of a liner interpolation, means that I could reposition the camera. Snapping onto the top of a sight-seeing bus, the viewer is immediately transported and moves through Piccadilly Circus. Ideally the spawn camera would be placed in a group folder with the bus. The group folder would have transformation keys applied, so that all 'children' within the folder would move simultaneously and f...

Getting to grips with animating spawn areas, using stepped interpolation. Meaning, camera angles that jump abruptly from one view to another. Sally's world is becoming defined and I've animated a tube train, using transform keys, to arrive on the platform. Screen shots below showing the spawn area (camera view) indicated by a view finder and cross hair. Although the viewer will be able to look in a 360 degree direction, by targeting the camera view in the direction of the action, the viewer will be lead through the narrative.

 Animating spawn areas today, to create a pedestal camera move. Great tutorial on Cinematography in Quill. On familiar ground with tips for 180 degree field of view and allowing the viewer to be the 'camera'. Not too much camera motion, to avoid nausea. Great technique of creating a 16:9 wide screen view finder, with a cross- hair, to make sure my spawn areas are focused toward the point of interest. Also imported Sally's audio file. Crackled quite a lot, but seemed to work fine when uploaded on Quest. Good to hear her speak and do some quick edits in Premiere before reimporting. I want her voice-over to talk about the abyss at the front end. Also experimented with dissolves and am considering the titles being at the front end of the experience.