Coral & I
Our first original piece to further the discussion on mankind’s presence on Earth. This time from the abstract position of being inside a living painting. As a collaboration with Moving Peaks & Luke Bubb we sought to create a more honest comment on presence and the effects of our place on under the ocean without casting too much judgement. Plastics are a big topic at the moment so we pivoted on this commentary.
Partly based on a frustration that TiltBrush art looks like too much like the application we took the approach to remove the geometry out and give it life inside Unreal Engine as well as gaining access to replication and ‘photo real’ lighting systems to make a unique look.
A Houdini procedure would help optimise the geometry and prepare it for foliage dressing as well as a procedural material network that inherits vertex colours and adds surface interest to the strokes.
Interestingly, another wave of changes to UE4 came days before delivery including VR Editor improvements and VR-level animation/sequencer access. It’s a very important aspect to our workflow to be ‘in context’ when making decisions so we’re in VR as much as possible to keep the feedback loop real-time and spatially coherent. It is an exercise in frustration to develop a scene which isn’t scaled correctly once viewed in VR so we keep this as a very highly regarded workflow practise.
This went to Cannes Film Festival in the past few weeks and will see an App Store release soon. We also have plans to involve a brain-controller which will have YOU save the reef by using the mind to empathise. I hope this will prove important points about the legacy that immersion has on the brain even in everyday life.
Thanks everyone,
Matt Hermans
Electric Lens Co
www.electriclens.co
Sydney, Australia
