Category: CAD Development Part 2 Week 1

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Danse Macabre


As the project moves away from pure operatic orchestration I am interested in finding a suitable soundtrack for the alpha channel oculus store video asset.

After considering a few ‘scary’ horror’ filmic’ options I have become quite captivated by this French original 78 track of Danse Macabre. This was posted on the Internet Archive.

https://archive.org/details/78_danse-macabre_nelson-eddy-robert-armbruster-saint-saens-cazalis_gbia0014978b/Danse+Macabre+-+Nelson+Eddy+-+Robert+Armbruster.flac

I may have to reduce some of the crackle but I could use the first 2 minutes. There a lovely evil cackle near the end of the track that could be clipped and used in isolation. This would be beautiful if played when the player enters the fairground, falls through the card hole or loses a game!

I am thinking that I will collect some foley sound at the weekend.. crumple some paper, wedge a card in my bicycle spokes again and explore other materials as well.

I like the idea of capturing ‘natural’ and ‘supernatural’ sound effects.

Posted on

Danse Macabre


As the project moves away from pure operatic orchestration I am interested in finding a suitable soundtrack for the alpha channel oculus store video asset.

After considering a few ‘scary’ horror’ filmic’ options I have become quite captivated by this French original 78 track of Danse Macabre. This was posted on the Internet Archive.

https://archive.org/details/78_danse-macabre_nelson-eddy-robert-armbruster-saint-saens-cazalis_gbia0014978b/Danse+Macabre+-+Nelson+Eddy+-+Robert+Armbruster.flac

I may have to reduce some of the crackle but I could use the first 2 minutes. There a lovely evil cackle near the end of the track that could be clipped and used in isolation. This would be beautiful if played when the player enters the fairground, falls through the card hole or loses a game!

I am thinking that I will collect some foley sound at the weekend.. crumple some paper, wedge a card in my bicycle spokes again and explore other materials as well.

I like the idea of capturing ‘natural’ and ‘supernatural’ sound effects.

Posted on

Oculus Store Assets

I am in the process of completing a set of assets for the oculus store so that the release channel can be changed from draft to Alpha. It is hoped that the app will then be available on the oculus store for testing (RESULT)

These are the initial drafts (created on iPad Adobe CC comp and mix, which will be aligned properly in photoshop tomorrow. I still need to check the safe areas.

The oculus guidelines specifically state that the following should be adhered to.

Go/Gear Asset VRCs

These requirements ensure your app meets the asset and content guidelines for shipping in the Oculus Store.
  • VRC.Mobile.Asset.1
    Logo must be on a transparent background.
  • VRC.Mobile.Asset.2
    Store cover art images must have a clear logo without extraneous text, taglines, or banners.
  • VRC.Mobile.Asset.3
    Store cover art must not include text in the top or bottom 20% of the image.
  • VRC.Mobile.Asset.4
    Hero art must include the branding of the app centered in the image.
  • VRC.Mobile.Asset.5
    Screenshots must be representative of the app and don’t contain any additional logos, text, or iconography.
  • VRC.Mobile.Asset.6
    App description, screenshots, and videos must not include HMDs, controllers, or logos for other VR platforms.
  • VRC.Mobile.Asset.7
    Trailer must not be longer than 2 minutes.
  • VRC.Mobile.Asset.8
    Artwork asset text should not use a font smaller than 24 pt.
  • VRC.Mobile.Asset.9
    If app is supported on both Gear VR and Oculus Go, any references in the app description and trailer should mention both devices.
Hero 
3000 x 900 px 
Mini 
1080 x 360 
Portrait 
1008 x 1440 px 
Square 
1440 x 1440 px 
Logo 
9000 x 1440 px (Max) 
Screenshot 001 
Screenshot 002
Screenshot 003 
Screenshot 004 
Screenshot 005 
Trailer cover 
2560 x 1440 px 
Mobile Icon 
512 x 512 px
PC Icon 
256 x 256 px
PC Icon 
96 x 96 px
PC Icon 
64 x 64 
PC Icon 
48 x 48 
PC Icon 
32 x 32 
PC Icon 
16 x 16 
Cube Map 
12000 x 12000 

Posted on

Oculus Store Assets

I am in the process of completing a set of assets for the oculus store so that the release channel can be changed from draft to Alpha. It is hoped that the app will then be available on the oculus store for testing (RESULT)

These are the initial drafts (created on iPad Adobe CC comp and mix, which will be aligned properly in photoshop tomorrow. I still need to check the safe areas.

The oculus guidelines specifically state that the following should be adhered to.

Go/Gear Asset VRCs

These requirements ensure your app meets the asset and content guidelines for shipping in the Oculus Store.
  • VRC.Mobile.Asset.1
    Logo must be on a transparent background.
  • VRC.Mobile.Asset.2
    Store cover art images must have a clear logo without extraneous text, taglines, or banners.
  • VRC.Mobile.Asset.3
    Store cover art must not include text in the top or bottom 20% of the image.
  • VRC.Mobile.Asset.4
    Hero art must include the branding of the app centered in the image.
  • VRC.Mobile.Asset.5
    Screenshots must be representative of the app and don’t contain any additional logos, text, or iconography.
  • VRC.Mobile.Asset.6
    App description, screenshots, and videos must not include HMDs, controllers, or logos for other VR platforms.
  • VRC.Mobile.Asset.7
    Trailer must not be longer than 2 minutes.
  • VRC.Mobile.Asset.8
    Artwork asset text should not use a font smaller than 24 pt.
  • VRC.Mobile.Asset.9
    If app is supported on both Gear VR and Oculus Go, any references in the app description and trailer should mention both devices.
Hero 
3000 x 900 px 
Mini 
1080 x 360 
Portrait 
1008 x 1440 px 
Square 
1440 x 1440 px 
Logo 
9000 x 1440 px (Max) 
Screenshot 001 
Screenshot 002
Screenshot 003 
Screenshot 004 
Screenshot 005 
Trailer cover 
2560 x 1440 px 
Mobile Icon 
512 x 512 px
PC Icon 
256 x 256 px
PC Icon 
96 x 96 px
PC Icon 
64 x 64 
PC Icon 
48 x 48 
PC Icon 
32 x 32 
PC Icon 
16 x 16 
Cube Map 
12000 x 12000 

Posted on

Headset install continued

Today I experimented with earlier unity versions and installed 2018.4. I exported my current project as a project asset and hoped to install the prefabs in the new project. I found that there were too many errors and it would not have solved the headset install issue.

As part of the optimisation process, I deleted the skybox as I’d read that it carried a high processing cost. I created a sphere and mapped it with the same skybox material. Unfortunately I couldn’t understand why, after placing my environment within the sphere, that the player kept shooting off outside the sphere and falling onto the abyss. I deleted the skydome and my player behaved normally. I know this can be fixed in maya by reversing normals but for now I have changed the player camera, left and right eyes, to black. This will solve the skybox optimisation. 
Next I checked all point lights in the scene were baked. I left one real-time light on the active fairground stall but after changing environment lighting and deleting the directed scene light, this should further reduce processing load. 
After this I checked the osig and built the app again the opened on the headset. Oculus is advising that the app is there but not compatible because it is still in draft. 
To advance the app from draft to alpha channel (and hopefully this will finally show up on the headset) I have started to complete the oculus publishing process. I have completed everything apart from the store assets. I have read the guidelines and will be working in these tomorrow.
Next steps: 
🔲. Oculus store assets 
🔲. Start and exit UI start Scene
🔲. Scene transition
🔲. Door mechanic 
🔲. Upload new build to oculus for testing. 
Posted on

Headset install continued

Today I experimented with earlier unity versions and installed 2018.4. I exported my current project as a project asset and hoped to install the prefabs in the new project. I found that there were too many errors and it would not have solved the headset install issue.

As part of the optimisation process, I deleted the skybox as I’d read that it carried a high processing cost. I created a sphere and mapped it with the same skybox material. Unfortunately I couldn’t understand why, after placing my environment within the sphere, that the player kept shooting off outside the sphere and falling onto the abyss. I deleted the skydome and my player behaved normally. I know this can be fixed in maya by reversing normals but for now I have changed the player camera, left and right eyes, to black. This will solve the skybox optimisation. 
Next I checked all point lights in the scene were baked. I left one real-time light on the active fairground stall but after changing environment lighting and deleting the directed scene light, this should further reduce processing load. 
After this I checked the osig and built the app again the opened on the headset. Oculus is advising that the app is there but not compatible because it is still in draft. 
To advance the app from draft to alpha channel (and hopefully this will finally show up on the headset) I have started to complete the oculus publishing process. I have completed everything apart from the store assets. I have read the guidelines and will be working in these tomorrow.
Next steps: 
🔲. Oculus store assets 
🔲. Start and exit UI start Scene
🔲. Scene transition
🔲. Door mechanic 
🔲. Upload new build to oculus for testing. 
Posted on

SMART goal update

Top 5

  • Unity Cinematography for Animated Films and Games. 
  • Immersive Environment Design Practice 
  • Immersive Environment Design Research
  • Immersive Design Network 
  • Character Design 


1) UNITY IMMERSIVE CINEMATOGRAPHY FOR ANIMATED FILM AND GAMES. 

To transfer skills from Animation to Games and expand my portfolio and skillset,  I need to explore how Unity can be used to create animated film and games. To do this, I will follow LinkedIn tutorials on Timeline and Cinemachine so that I can create 1 cutscenes, ‘Top Tent’. I will do this by March 2020. 


2) IMMERSIVE ENVIRONMENT DESIGN (PRACTICE) ✔️

To become a specialist in immersive environment design for Animated Film and Games, I need to apply research from GDC to my environment design process in Lunarium. I will do this by March 2020. 


3) IMMERSIVE ENVIRONMENT DESIGN (THEORY) ✔️

To become a specialist in immersive environment design for Animated Film and Games, I need to apply research from Academia to my environment design process. To do this I need to locate one paper each week that focuses on Environment design and reconfigure my own personal ‘nature’ environment research. I will do this by March 2020.


4) IMMERSIVE ENVIRONMENT DESIGN (NETWORK) ✔️

To become a specialist in immersive environment design for Animated Film and Games, I need to identify professionals working in immersive design and animation studios to develop my professional network. To do this I will begin to publish details of my projects on linked In and twitter to encourage conversations.  I will do this by March 2020.


5) CHARACTER DESIGN 

To improve my digital character development and increase my value in studio, I need to design, model, rig and skin a character using Maya or Blender. To do this I need to watch 15 hours of character development tutorials and produce one character to include in my current project, Lunarium. I will do this by March 2020.

Reflection 
Although Coventry, BCU and DMU are all growing their immersive humanities and design research and there is currently funding available for this, I have decided that I want to apply my knowledge and skillset in industry rather than academia. I am sure there will be times when my own personal work connects but I want the freedom to explore without constraints for a while. I currently do not have a desire to be an academic (although I do think I am a natural scholar 🙂 and would really like to work in a large team in the middle of the cut and thrust of a live project ! I am excited by the prospect. 


Posted on

SMART goal update

Top 5

  • Unity Cinematography for Animated Films and Games. 
  • Immersive Environment Design Practice 
  • Immersive Environment Design Research
  • Immersive Design Network 
  • Character Design 


1) UNITY IMMERSIVE CINEMATOGRAPHY FOR ANIMATED FILM AND GAMES. 

To transfer skills from Animation to Games and expand my portfolio and skillset,  I need to explore how Unity can be used to create animated film and games. To do this, I will follow LinkedIn tutorials on Timeline and Cinemachine so that I can create 1 cutscenes, ‘Top Tent’. I will do this by March 2020. 


2) IMMERSIVE ENVIRONMENT DESIGN (PRACTICE) ✔️

To become a specialist in immersive environment design for Animated Film and Games, I need to apply research from GDC to my environment design process in Lunarium. I will do this by March 2020. 


3) IMMERSIVE ENVIRONMENT DESIGN (THEORY) ✔️

To become a specialist in immersive environment design for Animated Film and Games, I need to apply research from Academia to my environment design process. To do this I need to locate one paper each week that focuses on Environment design and reconfigure my own personal ‘nature’ environment research. I will do this by March 2020.


4) IMMERSIVE ENVIRONMENT DESIGN (NETWORK) ✔️

To become a specialist in immersive environment design for Animated Film and Games, I need to identify professionals working in immersive design and animation studios to develop my professional network. To do this I will begin to publish details of my projects on linked In and twitter to encourage conversations.  I will do this by March 2020.


5) CHARACTER DESIGN 

To improve my digital character development and increase my value in studio, I need to design, model, rig and skin a character using Maya or Blender. To do this I need to watch 15 hours of character development tutorials and produce one character to include in my current project, Lunarium. I will do this by March 2020.

Reflection 
Although Coventry, BCU and DMU are all growing their immersive humanities and design research and there is currently funding available for this, I have decided that I want to apply my knowledge and skillset in industry rather than academia. I am sure there will be times when my own personal work connects but I want the freedom to explore without constraints for a while. I currently do not have a desire to be an academic (although I do think I am a natural scholar 🙂 and would really like to work in a large team in the middle of the cut and thrust of a live project ! I am excited by the prospect. 


Posted on

Marketing & Dissemination Plan Target



Target Dissemination Plan in the triangulation between: 

1) Theme Park Environment Design
2) Videogames: Mobile VR/Windows/Console Open World Game environment Design and development. 
3) Research: Nature/VR environment immersion

Next steps… 
  • Research 1,2 and 3. 
  • Look at examples such as Nintendo theme park attractions
  • Research nature/magic open world game : wildwood. 
  • Align with Lunarium (halloween themed attraction and Mobile VR Application) and explore how the project could be further developed as an open world game and bigger theme park attraction. 
Reflection
This shift in concept away from the opera because it doesn’t fit my career goals of creative producer/world designer (on screen and in XR) means that I can focus entirely on creating a site specific themed VR experience that could be installed at any halloween event. This broadens and commercialises the concept and will represent my skillset in my portfolio while drawing from my research interests. Although I have decided to suspend any further academic research at this time I will continue to explore the intersection of the virtual and natural world in my personal projects.

Due to this shift, the target audience has been broadened and although still directed at young teenage market would now include younger and older visitors to the event. The project can now focus more on Halloween Gothic Horror with Reference to the sinister aspects of Nancy Cunards poem ‘wheels’ as a starting point and so builds on existing graphic design and concept development. 

The shift will also help move me towards my professional goals and, for me, is a more exciting concept because I can freely create them supernatural’ magical aspects or the concept while juxtaposing this to the ‘Natural. With this in mind I am keen to develop the enchanted night garden. 

Although broadening the concept I feel it is important to keep control of the protect scope. I am therefore only working on key aspects that will represent the skills I have acquired on this masters course and how they have expanded on my previous experience that align with my SMART Goals. 





Posted on

Marketing & Dissemination Plan Target



Target Dissemination Plan in the triangulation between: 

1) Theme Park Environment Design
2) Videogames: Mobile VR/Windows/Console Open World Game environment Design and development. 
3) Research: Nature/VR environment immersion

Next steps… 
  • Research 1,2 and 3. 
  • Look at examples such as Nintendo theme park attractions
  • Research nature/magic open world game : wildwood. 
  • Align with Lunarium (halloween themed attraction and Mobile VR Application) and explore how the project could be further developed as an open world game and bigger theme park attraction. 
Reflection
This shift in concept away from the opera because it doesn’t fit my career goals of creative producer/world designer (on screen and in XR) means that I can focus entirely on creating a site specific themed VR experience that could be installed at any halloween event. This broadens and commercialises the concept and will represent my skillset in my portfolio while drawing from my research interests. Although I have decided to suspend any further academic research at this time I will continue to explore the intersection of the virtual and natural world in my personal projects.

Due to this shift, the target audience has been broadened and although still directed at young teenage market would now include younger and older visitors to the event. The project can now focus more on Halloween Gothic Horror with Reference to the sinister aspects of Nancy Cunards poem ‘wheels’ as a starting point and so builds on existing graphic design and concept development. 

The shift will also help move me towards my professional goals and, for me, is a more exciting concept because I can freely create them supernatural’ magical aspects or the concept while juxtaposing this to the ‘Natural. With this in mind I am keen to develop the enchanted night garden. 

Although broadening the concept I feel it is important to keep control of the protect scope. I am therefore only working on key aspects that will represent the skills I have acquired on this masters course and how they have expanded on my previous experience that align with my SMART Goals.