Daniel Eckler’s article, “The Future of Apple & AR,” reiterates that personal computing is on the verge of a paradigm shift toward augmented reality, and notes that Apple’s recent hires, acquisitions and patents point towards this AR future, as does the tech embedded in their current product line (particularly the much-maligned AirPods, which can be properly appreciated as voice-activated computers that nestle in your ears).
Regarding Apple’s prospective AR endeavors, Eckler observes, “If AR glasses are going to be a success, they’ll need to tether with a powerful computer (the iPhone), and they’ll need to do so seamlessly while introducing new ways to interface with computers (Airpods + Siri).”
While I share Eckler’s opinion of Apple’s intentions, I believe Apple’s odds of success are predicated as much on the practical as on the technical. In order to achieve mass market AR adoption, Apple must attractively address the following points: (full post on AWN)
Thanks to Toony Wu and the talented team at Jelly Monster in Beijing for hosting an iAVRrc salon yesterday afternoon, featuring my presentation on “The Art of Indirection”, and a few words from Nokia’s Jill Smolin on the creative potential of the OZO virtual reality camera.
Early last month in the gambling haven of Macau, I attended a SIGGRAPH conference for the first time in a long time. My initial SIGGRAPH experience as a student volunteer in 1993 was eye opening, and I was a regular attendee and occasional speaker for the next 15 years – including the very first SIGGRAPH Asia in Singapore, 2008. As an outsourced event, SIGGRAPH Asia has always been a distant relative to “SIGGRAPH SIGGRAPH” (as many folks comparatively refer to the “real” conference), but the initial offerings in Singapore and Yokohama were respectable.
Cut to today. Scarfing down a plate of Doritos at the SIGGRAPH Asia 2016 opening reception is a far cry from doing shots off the back of an SGI Onyx at the Nixon Library in the heady days of 1993 (though perhaps an appropriate analogy for the austerity arc of the graphics industry over the past two decades). Twenty years ago, there was a palpable sense that “anything is possible,” even though much still was not. Now – at a time when anything essentially is possible – we seem to be holding back. These days, CGI is like Doritos: tasty but predictable. And the VR game-changer has yet to emerge.
I attended all four days of the SIGGRAPH Asia conference and decided to distill my notes into three key observations (I’m a big fan of The Rule of Three). The following takeaways are… (full post on AWN)
The harsh realities of Donald Trump’s presidency, including global recession, riots and the enactment of U.S. martial law, have been a boon to the virtual reality industry, which exceeded projections by breaching $444 billion USD in annual revenue in 2017, driven by demand from Trump detractors and supporters alike. (full post on AWN)
As an antidote to the rash of news regarding the exploits of major Chinese entertainment companies and real estate barons, I thought I’d offer insight into China’s creative grassroots with an interview of entrepreneurial animation director Toony Wu, a graduate of the Beijing Film Academy who began working in animation in 1999, and is now immersed in augmented reality and virtual reality. In 2007, Toony co-founded what would become known as Dreamspace Media, specializing in 3D and 4D animated shorts and special-venue projects. Dreamspace won various awards for their work, and Toony went on to direct the Chinese animated series DRAGON SUPER CREW (小龙大功夫) for The Walt Disney Company in 2013. In 2016, Toony co-founded Jelly Monster, a Beijing-based animation studio specializing in AR publishing and VR content. I was fortunate to get enough time from this busy creator for ten questions related to his career in animation and his aspirations in immersive… (full post on AWN)