Tag Archives: virtual reality

Letting Google’s AI dream in 3D

I’m a big fan of Google’s trippy explorations at the intersection of photography and artificial intelligence via the DeepDream neural network software, and I’m a longtime enthusiast of virtual reality. Recently, I wondered what might happen if I connected these two interests.

Fortunately, my friends Joseph Smarr of Google and Chris Lamb of NVIDIA had recently helped our mutual friend and professional photographer Dan Ambrosi overcome the technical hurdles to apply DeepDreaming to his multi-hundred megapixel panoramic photos, with some pretty stunning results. Might they be willing to run a few of my Photospheres through their highly scalable, cloud-based DeepDreaming instance? Indeed, they were.

The first Photosphere we put through the process was something I captured during a photoshoot for the homepage of my new startup, Parietal VR. We chose to let the neural networks go full “animalistic,” so the forest scene got fully populated with a nightmarish assortment of creatures. Here’s the Photosphere as a 2D projection, before and after DeepDreaming:

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If you’d like to see it in 3D in your browser, I uploaded the processed Photosphere to VRCHIVE. But if you’re on Android and have the Cardboard demo app and a Google Cardboard, you should save the image to your phone and check it out in stereoscopic 3D.

[Note: For the Cardboard demo app to recognize it as a Photosphere, you may need to edit the filename to change “pano” to “PANO”. WordPress decapitalized it upon upload.]

For our second “dream sphere” we decided to veer away from animalistic in favor of more abstract, using a Photosphere I shot of an outdoor sculpture in Palo Alto, made from willow branches, “Double Take” by Patrick Daugherty. Here’s the 2D projection of the source Photosphere before and after processing:

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The transformation is much more subtle, at least at this scale. But check out a small section:

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And it’s way better in 3D, as you can imagine. Check it out on VRCHIVE. Or, as above, save to your phone and experience in Google Cardboard.

Note: For those curious, I captured these Photospheres with Google’s Camera app for Android on a Samsung Galaxy S6.

 

 

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When Virtual Reality was First the Next Big Thing

The hype around virtual reality is now at an all-time peak, and with good reason. Thanks to Moore’s Law and the passage of a few decades, virtual reality is finally here (or just months away, depending upon where you draw the line on what is or is not truly virtual reality). But this is hardly the first time that virtual reality has been the super-hot Next Big Thing…

In fact, exactly 26 years ago this week VR got its first mainstream “hype moment” via a front page article in the January 23, 1990 edition of the Wall Street Journal. In a lengthy, well-researched, and well-written piece, legendary WSJ staff reporter G. Pascal Zachary described the promising technology as nothing less than “electronic LSD”. As I wrote about in Virtual Reality Then and Now, that piece inspired me to seek out a demo of the tech upon my arrival to Silicon Valley in the fall of 1991, and helped set me on the path to becoming a virtual reality entrepreneur (now two times over). With the anniversary of its publication just days away, I recently decided to dig up that historic article and re-share it with the world.

Alas, the online archive for the Wall Street Journal doesn’t go back that far, so I had to find another way. An online chat with a librarian at Stanford confirmed that they had a copy of the issue, so on a recent morning I headed over to campus and used my alumni status to gain entry to the Green Library.

Once inside, I asked where I could find the old newspaper collection. The nice folks behind the counter let me know that I was mistaken in my quest for hard copy. That morning I would not be flipping through yellowing pages of newsprint; the publication I sought was only available in the form of “microfilm” in the Media and Microtext Center, down in the basement.

Downstairs I was greeted by two friendly staffers who confirmed I was the guy they just were discussing on the phone, and that I was indeed seeking the WSJ microfilm from January 1990. A few minutes later, one  of them emerged from the deep recesses of storage, carrying a single spool of film about three inches in diameter. He sat me down at one of many unoccupied microfilm viewing stations and started to give me a tutorial on how to use the equipment:

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One of the many microfilm scanning stations in the basement of Stanford’s Green Library

After a minute or so of painfully arcane instruction, my aide stopped himself. “Actually,” he said, “how much of this are you planning to do?”

“Honestly,” I said, “I haven’t used microfilm in decades, and I don’t really anticipate doing it again any time soon. Maybe ever.”

And so he stopped his tutorial and kindly went about the cumbersome process of spooling the film back and forth to zero in on the edition in question. Fortunately, this “modern” microfilm machine was connected to a PC and had digital scanning capability. After a few minutes, we were able to resurface and digitally scan the front page, complete with the legendary “dot drawing” of the dreadlocked Jaron Lanier, founder/CEO of pioneering virtual reality startup, VPL:

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Of course, just having a digital scan of the print edition doesn’t quite satisfy your, my, or anyone’s thirst for full-on digital access to the text, so over recent evenings I took on the painful task of “manual OCR”. [Hopefully, my friends at the Wall Street Journal will see this as “fair use” for posterity and not an infringement on their copyright.]

There’s so much I could say about this piece, starting with my surprise that it uses the term “artificial reality” throughout, despite VPL being widely credited with coining the term “virtual reality”. Also, note how much of modern Silicon Valley startup mythology is present: unconventional, visionary, “dropout computer whiz” founder/CEO with a disruptive technology that could impact many industries: “entertainment, education, engineering, medicine and many other fields of endeavor — pornography among them” — along with some rather prescient market timing doubts by a highly credible naysayer, no less than Jim Clark of Silicon Graphics (and later) Netscape fame.

 

So much more I could say, but here, without any more of my commentary, is the full text of this truly amazing intro of virtual reality to a mainstream audience:

Artificial Reality

Computer Simulations May One Day Provide Surreal Experiences

Jaron Lanier Develops Way For the User to Control and “Feel” Video Action

A Kind of Electronic LSD?

By G. Pascal Zachary, Staff Reporter of THE WALL STREET JOURNAL

REDWOOD CITY, Calif. — Jaron Lanier, his blond dreadlocks swaying, fiddles with the goggles on a young man’s head, then slips a black Lycra glove onto the subject’s right hand. The crowd that looks on is awaiting a glimpse of the future — the world of “artificial reality”.

“Just wave to get started,” instructs Mr. Lanier, a stocky six-footer who looks like a white rap-musician.

The crowd hears a sudden eruption of music and, on a video monitor, sees a bird flying high over a calm blue bay divided by a red bridge. The same vision to the man in the goggles seems eerily surreal. He is watching the bird through two screens mounted in the goggles. He feels as if he is part of the scene, which changes with a movement of his gloved hand: The bird soars then swoops down toward the water.

The crowd oohs and the young man giggles. Moments later, Mr. Lanier taps the subject’s shoulder. “Are you ready to enter the physical world” he asks. “Are you sure you’ll like it?”

To hear Mr. Lanier tell it, he himself wonders if artificial reality might be too appealing. He thinks of it as electronic LSD, with the power to blur a participant’s ability to distinguish between reality and fantasy. Advocates of the “Just Say No” persuasion, he says, may someday feel obliged to seek a ban on it. Timothy Leary, the former Harvard researcher who popularized LSD in the 1960s , says of artificial reality: “It’s getting closer and closer to the psychedelic experience.”

Mr. Lanier, a 29-year-old high-school dropout and computer whiz, is the most articulate and attention-grabbing member of a loose network of artificial-reality researchers and inventors. They have a vision of Americans working and playing in electronic fantasy world that, they say, will transform entertainment, education, engineering, medicine and many other fields of endeavor — pornography among them.

“This is far more important that the development of the personal computer,” contends Michael McGreevy, who oversees the National Aeronautics and Space Administration’s work in artificial reality. “You’re not constrained by keyboards, ‘mice’ and monitors,” he says. “You can explore living environments.”

Wrung-Out Pilots

The crude artificial-reality machines that already exist are the product of years of research by the Air Force, NASA, and several universities and individuals such as Mr. Lanier, who is something of a maverick in the field. He is founder and chief executive officer of VPL Research Inc., a 16-person artificial reality firm here in Redwood City.

Even now, artificial worlds are in use. At Wright-Patterson Air Force Base in Dayton, Ohio, fighter pilots train in artificial cockpits. Outfitted with special goggles and headphones, they both see and hear the battle. “This really gets their juices flowing,” says Thomas Furness, until recently head of Wright-Patterson’s artificial reality project. “They come out of the cockpit sweating, wrung out.”

Architects and designers are on the verge of exploiting artificial reality. A University of North Carolina computer scientist has designed a program that allows architects to design a building and, after putting on the appropriate devices, lead a client on a tour of it. If the client wants larger windows in his office, the architect simply grabs the window with his electronically gloved hand and enlarges it. Many other projects are in the works.

First, Toys

In a modest way, Mattel Inc., the toy maker, brought artificial reality to the consumer market last fall. Mattel introduced a $90 computer glove, partly based on VPL’s design, that enables users to control some Nintendo games with hand gestures.

Dozens of companies in the U.S., Japan and Europe have purchased devices from Mr. Lanier’s firm, VPL Research Inc., to study ways to exploit the technology of artificial reality. Its unlimited potential for creating environments that a properly wired subject can see, feel and control explains all the interest. “This is probably the most powerful stimulant to the imagination ever,” says Brenda Laurel, a Los Gatos, Calif., computer consultant who has followed developments in artificial reality for a decade.

How does it work? Besides supplying computer-generated images, VPL’s goggls contain a magnetic tracking mechanism that responds to movements of a person’s head, causing the field of vision to shift as it might in the real world. Moving the glove signals the computer to move objects in the artificial environment.

Sensors stitched in the “data suit” can signal body movements by the wearer and change the visual perspective as if the wearer were moving through the scene. The sensing devices are connected by fiber-optic cables to computers that update the visuals 15 to 30 times a second. What the viewer sees is close to some sort of reality.

Still, today’s systems fall short of that. “I felt as if I were in a theater and could still see what’s going on backstage,” says Eric Hulteen, an engineer at Apple Computer, Inc. who has tried an artificial reality system developed by NASA. “The movement was slow, the images cartoonlike, and it was hard to grab anything. But I enjoyed it.”

Costly Trip

The hardware is expensive: $88,800 for a glove, $9,400 for goggles, up to $500,000 for a complete system — “a lot of money for a hit of acid,” quips Eric Lyons, director of technology for Autodesk, Inc., a Sausalio, Calif., concern developing artificial-reality software.

Mr. Lanier, artificial reality’s most extravagant promoter, was born in New York City and grew up in El Paso, Texas and Las Cruces, N.M. “Jaron was the noisiest infant in the nursery,” says his father, Ellery. “You could hear him through the glass windows.” In grade school he dressed so strangely — often wearing his shirts sideways, for example — that classmates once refused to allow him in a school photograph. As a teen-ager in New Mexico he lived with his widower father in a lean-to and, later, a geodesic dome. He kept a a herd of goats and milked them in the kitchen.

After dropping out of high school, Mr. Lanier faked his way into New Mexico State University. “He was a giant mind, one of the most brilliant students I’ve ever had,” recalls Warner Hutcherson, a professor of electronic music at the school. Yet he failed to get a degree. He also lacked social graces. “He smelled bad,” says Mr. Hutcherson. “But Jaron had other things to worry about than take a bath.”

As a corporate executive, Mr. Lanier has lost little of his eccentricity. Though neither a black nor a Rastfarian, he keeps his hair in dreadlocks that distinguish the Jamaican sect. He is apt to wear the same clothing for days. He drives a 1986 Citroen and lives in a rented four-room cottage at the end of an unpaved street in nearby Palo Alto.

World Without Limits

He is an accomplished musician and born performer. His place is cluttered with instruments. Many, like his Chinese harp and his Thai pipe organ, are exotic. Eleven wood flutes hang on one wall alone.

His obsession with artificial reality seems to reflect his dissatisfaction with conventional reality. “There’s this problem that you have to cope with [in] the real world,” he says. “You have to give up the infinity of your imagination to reach other people. Because we meet in this physical world, we have to make compromises, we have limited power. In [artificial worlds] there’s this incredible sense of release. All of a sudden you are infinite in this world.”

Mr. Lanier seized on artificial reality in 1983, after winning some notice as the creator of video games that blended sounds and scores into computer programs. On a visit to Atari, a video-game maker that was exploring new approaches in computer entertainment, he met Tom Zimmerman, a Massachusetts Institure of Technology graduate and also a musician, who had designed a computer glove in his spare time. They hit it off, and founded VPL in 1985.

One of the first things Mr. Lanier did with Mr. Zimmerman’s glove was to create a software program that enabled him to perform the music of the late guitarist Jimi Hendrix and another in which he conducted an orchestra. “Jaron’s dream is to make the experience of using a computer like playing music,” says Scott  Kim, a software developer.

Manufacturing Chaos

Several VPL employees are enterprising artists with a knack for electronics. Ann Lasko chief designer of data suits, spends most of her free time doodling away at an artificial world in which she is a lobster (one of her biggest problems is to figure out the best way to move her antennae). Her husband, Young Harvil, who designed the firm’s three-dimensional program, has a master’s degree in fine arta and no formal training in computers. Before joining VPL, he was curator of a coprorate art collection.

As a workplace, VPL leans toward the chaotic. Mr. Lanier is no Henry Ford. The firm’s complex, custom-made products often aren’t finished until hours before shipment deadlines. The data suit in particular defies mass production. Unless it is fitted to its user with extreme care, its sensors fail to register properly. Some customers send wearers to VPL’s office so the suits can be tailored on them.

Yet customers as diverse as computer and amusement park developers are so excited about the prospect for artificial reality that they’re willing to endure Mr. Lanier’s dicey production schedules. “There’s something fundamentally right and interesting about what Lanier is doing,” says Jean-Louis Gassee, head of new products at Apple Computer, which has purchased several of VPL’s gloves.

Some customers, however, have soured on Mr. Lanier. ShareData Inc., a Chandler Ariz., software firm that financed VPL’s glove research in the mid-1980s, eventually became frustrated at Mr. Lanier’s inability to finish the job. Later it ran into unrelated financial problems that caused it to cancel the project.

Abrams/Gentile Entertainment, a New York toy design company, says it faced similar frustration after licensing VPL’s glove design. It then agreed to supply Mattel with a toy glove based on VPL’s technology. Abrams/Gentile says it spent $1.5 million developing VPL’s glove technology, but found “it wasn’t living up to its billing,” said Christopher Gentile, a principal in the firm. The company paid another design team to finish the glove, and is now seeking to deny VPL royalties on Mattel’s sales. VPL is fighting Abrams/Gentile’s move in court.

Playing With Toys?

Some have accused Mr. Lanier of taking credit for inventions made by others in an attempt to monopolize the essential technology of artificial reality.

VPL recently settled a lawsuit against Stanford University that, among other things, involved a dispute over the ownership of ideas. Howard Perlmutter, a Santa Cruz, Calif., inventor accuses Mr. Lanier of stealing his ideas about computer clothing. Mr. Lanier denies it. “People look at Jaron and think they can take advantage of himm” asserts Jack Russo, a specialist in intellectual property law whose clients include Mr. Lanier and Apple Comuter.

Others fault Mr. Lanier’s showmanship and says he is overselling artificial reality. “He’s bumbling around with toys,” says James Clark, chairman of Silicon Graphics Inc., maker of the high-speed graphics computers central to Mr. Lanier’s system. Mr. Clark thinks that computer goggles and clothing are too constraining, and won’t enter wide use.

Mr. Lanier disagrees, insisting he’s chosen the richest technical path toward artificial reality. “We’re certainly the pioneers of this field,” he asserts. In any case, he says, technical considerations are in a sense trivial when compared with the dream-fulfilling promise of artificial reality. He is eager to pursue it; asked how he plans to spend a weekend, he answers: “I’ll be busy. I’ve got some worlds to create.”

 

 

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Mobile VR: The future’s so bright…

I had a great time up at GDC (the annual Game Developers Conference) in San Francisco yesterday. Two things are clear: virtual reality is finally arriving, and it’s future’s so bright, we’ll soon all be wearing shades:

Tipatat_Gear_VR[Image: Tipatat Chennavasin, Creative Director at Rothenberg Ventures’ VR Accelerator checks out a Mobile VR demo from MediaSpike at VR Mixer, a meetup hosted by SFVR and SVVR.]

A few takeaways from my visit to a very VR-centric GDC:

I and many others stood in line for hours for the hottest VR demos, like the Oculus “Crescent Bay” experiences at the Nvidia booth. The highlight was “Thief in the Shadows,” a collaboration between Weta Digital, Epic Games, and Oculus, which brought to life CG assets from “The Hobbit: The Desolation of Smaug”.

As amazing as it was, it and the other high-end demos, such as the one in support of the just-announced Vive VR headset from HTC and Valve (which I heard was truly awesome), showcase a major schism in the brewing VR platform wars. The most impressive demos require high-end (and often complex) hardware that will not be within the reach of mainstream consumers any time soon. For example, “Thief in the Shadows” showcased the power of Nvidia’s just announced Titan X graphics card, the “world’s most advanced GPU,” with 12 GB of RAM and no pricing yet announced. (Assume thousands of dollars.) These high-end demos also require placement of sensors around the room, which enables position tracking, but ups the complexity greatly.

On the other side of the schism is the “Mobile VR” camp, which embraces the smartphone as the core of the experience, severing the dependence on cables, high-end PCs or consoles, and external tracking sensor arrays. Leaders in this camp include Samsung, with Gear VR (developed in partnership with Oculus), and Google, with “Cardboard” (an open-source hardware approach to creating a display that ranges in price from cheap to free). Both are very exciting, and seem certain to bring VR to millions of consumers well in advance of the high-end folks. There’s a great article today in Wired by David Pierce, entitled The Future of Virtual Reality is Inside Your Smartphone. It suggests not only that Mobile VR will go mainstream first, but that it will also drive the future, thanks to ever more powerful smartphones:

More importantly, your next smartphone is going to be really, really powerful, and it’ll probably have a 4K or better screen. The one after that? Forget about it. Mobile computing is on such an insane trajectory, says [Samsung’s Nick] DiCarlo, that you’d be crazy not to just jump on the rocketship. “It’s pretty easy to draw these curves where [a smartphone] starts being better than Xbox 360,” he says, “better than all these things we’re accustomed to, really really quickly. Stuff that is relatively new, and the phone is going to be more powerful than that in one, two, three, five, ten years.” If that’s true, he says, and all evidence supports that it is, “what else would you do?”

We are witnessing the birth of a new platform, a new mass medium. As with the web in 1994/95 and mobile and social in 2007/08, there’s a Wild West, Gold Rush excitement and energy. It’s a great time to be in Silicon Valley, and with the intensity of the competition already underway, it will be an amazing time to be a consumer of virtual reality.

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How Google’s Carboard Will Take Virtual Reality Mainstream in 2015

I’ll admit that when I first heard of Google’s virtual reality headset that is both made of and named “Cardboard,” I thought it was a joke. Literally.

In fact, until I got one a week ago, I was pretty dismissive of the project/product, despite being a passionate fan of VR since the early ‘90’s!

Now that I’ve had a few days to play with Cardboard, I’m a convert. And an evangelist. In fact, I’m so into this contraption that I carry it with me almost everywhere I go. Why? Because it’s really a delight to see friends, family, and even strangers experience it for the first time.

McCrea_Cardboard

Google’s Cardboard effort is radically accelerating the arrival of virtual reality as a mainstream medium. Yes, Oculus Rift will be a huge success, but it seems like the consumer edition won’t hit store shelves until either late 2015 – or even early 2016. And while Samsung is currently testing the waters with a limited, sold out release of an “Innovator Edition” of its very slick Gear VR offering, the consumer edition of the product is likely not coming until mid- to late-2015.

But Google’s Cardboard is here now. And it is supported by a companion app that’s already clocked over 500,000 downloads, a recently released SDK, a rapidly growing base of apps in Google’s Play Store (with new ones almost every day), and multiple “hardware” partners. Oh, and Google is adding support for VR across its product portfolio, starting with Google Earth, YouTube, and Google Camera (via the Photosphere feature), all part of the Cardboard app, and more recently with support in the Google Maps’ Street View. In short, Google is pursuing this aggressively as an ecosystem play.

Photosphere example

[Above: An example Photosphere image via Google Camera.]

Sure, the plastic lenses (together with my need for reading glasses) make for an experience that is nowhere near as sharp as strapping on the Oculus Rift DK2. And the cardboard “headset” is pretty flimsy and leaks light. But the overall experience manages to cross over the believability threshold (while somehow avoiding the motion sickness problem), such that I can’t get enough of it, and everyone I show it to is blown away.

What apps get the best reaction? Flying around Google Earth is amazing. The virtual tour of the Palace of Versailles is really cool. Any of the roller coaster apps are sure to thrill. “Sisters” was spooky enough that my daughter couldn’t take it — and got an amazing scream out of my wife. And sitting on Paul McCartney’s piano on stage in Jaunt VR’s concert app thrilled my daughter. It was so believable, that when she saw the audience, she asked if they could see her!

Google Cardboard (together with the Google ecosystem) is making virtual reality a mass medium sooner than anyone expected. When a new mass medium is born (like the web in 1994 and 1995), great fortunes are up for grabs. And those who spot the trend and move early reap some of the greatest rewards.

So, what are you waiting for? The easiest, lowest cost way to be an early mover in virtual reality is to plunk down $15 to $25 to get yourself a cardboard headset. Oh, and they make a great Christmas present – not just for your techie friends and family, but for anyone who wants to be wowed by seeing the future a little early.

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OMG. I’ve Seen the Future of Advertising (And It’s Actually Awesome)

Actually, I didn’t just see it. I experienced the future of advertising in a fully immersive and interactive way. Heck, I even took a ride on it!

The advertising I’m talking about was in a virtual reality environment brought to life by an Oculus Rift (DK 2). And it was a demo for a new capability of MediaSpike, the company that’s pioneered dynamic native advertising in mobile and social games, and is now shining a light on how their platform can power mind-blowing brand experiences in the emerging new mediums of virtual reality and augmented reality.

[Non-trivial disclosure: I’m more than a little biased on this topic; I currently head up marketing at MediaSpike. So, yes, this is definitely a “puff piece,” but it is one that is also from the heart!]

This wasn’t a totally new demo. It was one that our team had created months earlier to showcase our support for Unity, the wildly popular game development system. And that meant I was pretty familiar with the cityscape, having driven a pickup truck all around it on an iPad. Countless times, I’d whizzed past the billboards, checked out the movie theater, looked at the blimp overhead. And I’d even glided over the city, blissing out via the blimp camera view.

So, when the team said they’d gotten it working with Oculus, I thought I knew what to expect. (After all, I had tried Oculus Rift several times, and have been a VR enthusiast for more than 20 years!) And then I slipped on the headset and headphones and picked up the controller and…

…stepped inside the demo. Oh, my! It was like a dream. I didn’t dare move about; I just wanted to drink it all in from where I entered, looking every which way (by moving my head). What used to be a simple demo driving game was suddenly a real world. Okay, not “real” for real, but way more tangible, believable, and interesting than seeing it on an iPad. Instead of playing a game, I was actually in it.

When I looked behind me, I almost jumped. I was just feet away from a billboard for the Despicable Me ride at Universal Studios. You see, due to a quirk in adapting the iPad demo to the Oculus, the “camera” was floating 20 or so feet above the ground, so the billboard was at eye level instead of high above me. I was a giant! And, wow, that billboard looked awesome! So big, so bright, so wow. It was not just a secondary object I might or might not notice while driving the truck in the iPad version of the demo.

Of course, the team would go on to fix the “giant’s eye view” issue (by lowering the camera). But I’ll never forget that moment.

The next magical moment came when the team let me know they had gotten the video ad working in the demo – in full 3D. In the iPad version of the demo, by contrast, we included video, but not in a fully native way. If you clicked on a movie poster, we’d spawn the trailer full-screen. That seemed the appropriate experience for a mobile screen.

But within VR, the team wanted to go fully native, and that they did in a bold way, creating a gigantic outdoor movie screen that could be used to display any video. As I drove up to one intersection, I heard Queen’s “Under Pressure” playing in the distance and getting louder as I approached. As I rounded the corner, I saw a trailer for “Minions” (the next installment in the Despicable Me series) playing on what looked to be an 100-foot tall screen:

MediaSpike_VR_Outdoor_Movie

I could drive right up to it, and the sound got louder. The spatial sound effect also worked as I would turn my head, with the volume decreasing for the far ear. And what did I see when I looked behind me this time? A beautiful “Despicablimp” floating by overhead and a billboard for the Despicable Me ride at Universal Studios:

MediaSpike_VR_Blimp_Above

And down at street level, off to the side, I saw a glowing red area in front of a tall building, along with a small sign advertising blimp rides. I drove into the red zone and was magically transported to the building’s rooftop. The outdoor theater was still visible, but was now closer to eye level. As I looked around, the Despicablimp approached:

MediaSpike_VR_Rooftop

Using the left thumb stick, I could navigate around the roof in a way that felt somewhere between walking and gliding. (Either way, I felt human-sized, not a giant.) As the blimp descended, I walked toward it. I’ve always had a thing for blimps, and watching this airship directly overhead was jaw-dropping. I could hear the purring of its engines over the now distant sound of the trailer on the big screen.

The blimp docked at the edge of the roof, and the interior of the cabin began to glow red, enticing me to come forward. To enter the blimp, I would have to walk carefully unto the edge of the roof and cross a short air gap between me and the airship. I knew that the team had set it up such that it was possible to step off of the roof and fall to the pavement far below. And so I aimed carefully to “step” into the blimp via a small outcropping of bricks at the roof’s edge. You can see my pickup truck parked in the red zone down below:

MediaSpike_VR_Roof_Edge (1)

Once I was inside the cabin, the Despicablimp set sail, taking me on a blissful ride above the city. The engine sounds were now accompanied by the creaking of boards and what sounded like sails flapping in the wind, adding a kind of steampunk twist to the experience. Here’s the sound file we used.

And on the dashboard was a can of Pepsi. (But we can dynamically change it into a Coke, a Mountain Dew, or any other brand.)

MediaSpike_VR_Blimp_Ride

And down below…whoah!

Hello, glass-bottom cabin…

MediaSpike_VR_Glass_Bottom

In short, it was a jaw-dropping, hugely fun, and unforgettable experience that gave me a strong, positive emotional connection with the upcoming Minions movie, while raising my awareness of the Despicable Me ride in the most visceral way possible.

And all of it was dynamically served and tracked end-to-end by the MediaSpike platform. And that means the blimp could easily become Goodyear, State Farm, or any other brand. The video on the big outdoor screen could be, well it could be any video. And so on.

All without any changes to the underlying game. No software release.

It’s pretty clear to me that virtual reality is going to be an amazing frontier for advertising. And it will finally deliver to digital a brand-friendly creative palette that not only matches, but greatly exceeds the possibilities of TV, allowing campaigns that are interactive, cinematic, and emotion-stirring.

I, for one, can hardly wait!

If you’d like to experience the future of digital advertising described in this post, we’ll be demoing it at the SVVR holiday party later this week.

And if you want to read more, here’s MediaSpike’s announcement blogpost (yes, also written by me), and well as coverage in VentureBeat by Dean Takahashi and in TechCrunch by Kyle Russell.

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Virtual Reality: Then and Now

[Note: Though this post touches on events in the ’90’s, it is not part of my ongoing “20 Years Ago” series. I’ll return to that in due time, but, given how hot virtual reality has become (again), I felt compelled to interrupt my narrative to share some personal experiences and thoughts on the topic.]

I am honored to have recently had the chance to experience the second-generation Oculus Rift, the magical hardware/software combo that inspired first an Andreessen Horowitz Series B and then, within four months , a $2 billion acquisition by Facebook. As you can imagine, it was truly awesome. My deeply personal reaction can be summed up in four words, “Finally, it is here.”

You see, I got inspired by the concept of virtual reality nearly 25 years ago, when in 1990, the Wall Street Journal ran a piece on the technology, featuring Jaron Lanier, the dreadlocked visionary who coined the term “virtual reality” and who created the first VR startup, VPL. The article’s headline characterized the technology as no less than “electronic LSD,” giving virtual reality a forceful send off into Phase One of the hype cycle.

Less than a year later, when I arrived in Silicon Valley to go to Stanford Business School, I made getting over to VPL my top priority. Within weeks, I had successfully tapped my fledgling network to arrange a visit to VPL for me and a few classmates, hosted by George Zachary, VPL’s marketing director (and future colleague of mine at Silicon Graphics, who would go on to great success in the venture capital business at CRV). We got to put on the hardware (headgear and glove) and become among the first humans to explore immersion in an interactive virtual reality. I brought along my 35mm film camera and had someone take these pictures of me experiencing the demo. (That’s half of George on the right in the first image below.)

Autosave-File vom d-lab2/3 der AgfaPhoto GmbH

Autosave-File vom d-lab2/3 der AgfaPhoto GmbH

I remember being very excited by the experience. It helped ignite a passion for interactive 3D content that would become a major theme of my Silicon Valley career (from Silicon Graphics hardware, to trying to bring 3D to the web via VRML, and all the way to my current venture, MediaSpike, focused on the biggest 3D market so far, mobile gaming). But, in hindsight, VPL was a classic false start: a concept pursued before its time, and a company that would end in bankruptcy. VPL was not just a few years too early; it was decades before its time. That first encounter of mine with a VR headset was 23 years ago, and Oculus Rift DK2, as exciting as it is, is currently just a prototype of a developer release. The consumer version is not expected to ship until sometime next year. We are only just now truly on the cusp.

So, what did I see and experience through the VPL rig? Honestly, I don’t remember the details, just the hints of magic. Fortunately, I took a photo of a TV monitor during one of the other demos that day. Here’s what we saw:

Autosave-File vom d-lab2/3 der AgfaPhoto GmbH

And, yes, somehow, I walked away from that demo more confident that virtual reality had a bright future…

Fast forward to a few weeks ago, to the Silicon Valley Virtual Reality conference at the Computer History Museum in Mountain View. I had been fortunate enough to learn of the event via a Facebook post from an old friend, Tony Parisi, co-creator of VRML, who would be speaking on a panel at the conference. I tried to register, but a sign of how hot virtual reality had become (again) — it was completely sold out! Fortunately, Tony was willing to ask a favor on my behalf, and, as a result, I was able to buy a pass for Day 2 of the event.

I greatly enjoyed the first session I got into, one on game development for VR. The members of the panel were unknown to me, but not to each other – or to the crowd. There were lots of, “Your stuff inspired me” kinds of comments, along with thoughtful discussion about: the special challenges of how to develop VR content; UI paradigms; and most-needed enhancements to the current generation of development tools.

But what I was really excited about was the upcoming break at the end of the panel. When it came, I quickly exited the room and headed straight for my primary target: the expo room and the Oculus Rift booth. I don’t know if it was my speed or that fact that it was the second day of the conference, but somehow I managed to get there before anyone else. Soon, I was seated in a comfy living room chair and told I’d be competing against the guy who arrived just after me. I slipped on the “DK2” (developer kit 2). One of the demo guys put headphones on me, and through them I was barely able to hear some rapid-fire instructions, involving a sword, a shield, jumping, and the various game controller features. Suddenly, a game controller was thrust into my hands.

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And then it happened. The world turned on, and I was in a virtual living room with a coffee table in front of me, atop which were two smallish 3D characters, each with a sword and a shield. My opponent sat in a chair to the right of the coffee table. I was temporarily overwhelmed with the joy of finally seeing true, high-quality VR, the compulsion to not suck at my virtual sword fight, and the strangeness of having my avatar controlling a virtual avatar. I smacked the various buttons, knocking my opponent off the table with my shield, and then knocking down a set of wooden blocks on the table with the swipe of my (my character’s?) sword. Within a minute, I was so engaged in the battle that I achieved full suspension of disbelief. I looked over at my opponent and saw his head move to; we were both exploring. I looked down at my hands, and saw (virtually) the controller in them. Then, my opponent upped the ante, and had his character change the target of its attack from my little character to me. His creature jumped in my lap and started swiping at me. And then, darkness. My heart was racing.

CouchKnight_1

That, and many other experiences that day, convinced me that we are now, finally, on the cusp of the virtual reality going mainstream. I thoroughly enjoyed my experiences at the conference and felt like I had a sort of homecoming. After the panel that Tony was on, a conversation on “building the metaverse,” I planned to head out and go back to the office. As I was thanking Tony, he asked, “Did you see the Kite and Lightning demo?” I had not. “You have to,” he said. “These guys are making some of the best VR content ever.”

And so, I ended a great day with a truly mind-blowing encounter with immersive 3D content. You must experience it yourself when it is finalized and the Oculus Rift is available to all, but in the meantime, I recommend reading this description of it, then watching the YouTube video:

Of course, the real experience is far more visceral. But I am convinced the dream that has inspired so many of us for so long is finally about to be achieved.

 

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