Next Generation Spatial Media: Brilly Showcases Sphere Production and The Archive Launches on Vision Pro [BTN, February 8th, 2024]
A Behind-the-Scenes of cutting edge applications of the Render Network
In a new Render Network spotlight, David Brodeur (aka Brilly) shared his process creating immersive visuals for the MSG Sphere, a collaboration with Coca-Cola to debut in Las Vegas, home to this week’s Super Bowl.
The project represents a confluence of some of the most exciting trends in the creative landscape: digital art, AI, and the immersive Las Vegas Sphere:
“Coca-Cola had approached us with a campaign they created that was designed around a new Coke flavor crafted by AI. Our creative process was to stay true to the brand as well as the campaign while simultaneously learning all the ins and outs designing for the MSG Sphere in general.”
Similar to many of his other works, this project relied on a core toolset of Octane Render and C4D, but the true x-factor for the project turned out to be the Render Network.
“The core tools I used were Octane Render and Cinema 4D. The final tool that saved our deadline was the Render Network. Like many projects in our industry, this one had a quick turnaround and the Render Network enabled us to render out the full sequence in time for the deadline.”
While working alongside one of the most iconic brands in the world is an honor, the project did not come without its creative complexities. Namely, the technical aspects of working at such a large size as well as a unique, spherical format, presented many technical challenges:
“It is always exciting to start off a project that you know will have some creative challenges. Designing on the Sphere certainly has its own unique set of challenges. You soon learn that the optimal viewing perspective is for your audience in hotels and buildings. The view from the ground level is mostly blocked by buildings and other obstructions. The QC team was very adamant about watching your exposure. Pure white has to be brought down significantly as it quickly gets overexposed once it is playing on the Sphere. With a screen this large slower movements work a lot better and the faster movements become a bit disorienting as well as less visible to the audience.”
Working on a project for the Sphere firsthand, a sentiment became apparent to Brilly, one that has been echoed at large by the viewing public since the Sphere’s debut: that this is one large step in the future of media. Spatial and immersive media have been a part of the collective dream of the future for decades, if not over a century. What the Sphere presents is a leap forward in visual immersion for digital media:
“The future is definitely going to be about Holograms. When you see the things OTOY and Lightfield Labs are doing you realize there is no question that this is the future.
Right now we are creating screens that give the illusion of dimensional digital art. Once we can build actual dimensional visuals on this scale it will change how our world consumes media instantly.”
Though it presented numerous emerging technical challenges working at the scale of the Las Vegas Sphere, Brilly was able to produce a brilliant, visually arresting work for Coca Cola.
In the process of pushing the boundaries of the new medium, Brilly gained some valuable lessons in creating for immersive formats, and has some advice for artists looking to create for at this scale on the Render Network:
“When creating for immersive experiences it is really important to first learn about the displays and how motion and movement could affect your audience. Certain movements could be lost completely or disorient your audience. Each new immersive experience has its own set of new challenges and opportunities…
Since I started in the industry I have been designing for a lot of wild displays for concert visuals. Each new display is really just a creative canvas. It’s easy to get distracted by the tech but the technology but in the end you still rely on composition and the design and animation principles.”
The Archive Releases for Apple Vision Pro
Showcasing the growth of next generation media experiences OTOY, Paramount Game Studios, and The Roddenberry Estate announced the launch of The Archive app, exclusive for the release of Apple Vision Pro. The Archive was previewed in a limited run web experience in April 2023 to rave reviews, and now brings the over 60-year history of Star Trek to Vision Pro users in an all-new fully immersive format. Users will be able to experience high-fidelity, 1:1 recreations of the Star Trek universe, whether it be exploring the halls of the Enterprise to taking a spin around Captain Kirk’s quarters. This exciting new immersive spatial experience was created utilizing the power of the Render Network, and is a must-view for any fans of Star Trek and the history behind it!
Of note were the first 1-meter by 1-meter light field cubes that are displayed at 90-frames-per-second in 4K resolution per eye — a format of which requires ~100x rendering power to 4K video and which was done on the Render Network. Please see some coverage of The Archive below.
Mograph Discusses The Archive with Jules Urbach
On the latest episode of the Mograph Podcast, Jules discussed The Archive in greater detail along with a variety of subjects including the Octane roadmap, the Render Network’s recent development with the transition to Solana, the BME model, and the release of spatial computing renders.
A key focus of the conversation explored why the network transitioned from Ethereum to Solana, which is currently ongoing — with an upgrade assistant currently available at https://upgrade.rendernetwork.com/.
As Jules put it, chief among those reasons outside of the increased throughput and reduction in infrastructure costs to the Network, was the ability to build out and realize the Burn-Mint-Equilibrium model, which enables the network to scale in a more robust model.
Finally, Jules spoke to the release of the Archive app for the Vision Pro, which he sees as an amazing piece of hardware that may eventually be an everyday-use tool for the average consumer. Though he doesn’t recommend driving with one like seen in a certain viral TikTok, the ability to watch movies or dive into the Enterprise in high fidelity, even in formats that were previously difficult for home-entertainment like 3D and even holographic content, is unmatched. More than anything, as Jules put it, “I’m so bullish on the future of this thing.”
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