Reality Channels
Prototype of the real world metaverse
Details
A large-scale AR installation at Niantic Lightship Summit 2022 in San Francisco, the world's first augmented reality conference.
Liquid City and Niantic began a collaboration founded on a shared sense of responsibility to avoid the pitfalls of an insular and exploitative metaverse, aiming to shape a positive vision for the technology.
For my first project at Liquid City, I worked on creating all the 3D assets and directed an animation studio for the creatures. This was quite possibly the highest quantity of assets I've produced in the shortest amount of time.
A large-scale AR installation at Niantic Lightship Summit 2022 in San Francisco, the world's first augmented reality conference.
Liquid City and Niantic began a collaboration founded on a shared sense of responsibility to avoid the pitfalls of an insular and exploitative metaverse, aiming to shape a positive vision for the technology.
For my first project at Liquid City, I worked on creating all the 3D assets and directed an animation studio for the creatures. This was quite possibly the highest quantity of assets I've produced in the shortest amount of time.
A large-scale AR installation at Niantic Lightship Summit 2022 in San Francisco, the world's first augmented reality conference.
Liquid City and Niantic began a collaboration founded on a shared sense of responsibility to avoid the pitfalls of an insular and exploitative metaverse, aiming to shape a positive vision for the technology.
For my first project at Liquid City, I worked on creating all the 3D assets and directed an animation studio for the creatures. This was quite possibly the highest quantity of assets I've produced in the shortest amount of time.
Services
Prototyping
3D design
Year
2022
Due to the large number of assets we created, we needed to keep things modular while still working with our light-baking approach. We went heavily down the prefab route to keep everything as organized as possible.
We aimed to create different atmospheres throughout the major areas of the conference, loosely following the seasons: spring as you enter, summer in the middle, and autumn/winter towards the end. It was like a year-long walk through nature, all in one conference—minus the unpredictable weather and allergies.
Due to the large number of assets we created, we needed to keep things modular while still working with our light-baking approach. We went heavily down the prefab route to keep everything as organized as possible.
We aimed to create different atmospheres throughout the major areas of the conference, loosely following the seasons: spring as you enter, summer in the middle, and autumn/winter towards the end. It was like a year-long walk through nature, all in one conference—minus the unpredictable weather and allergies.
Due to the large number of assets we created, we needed to keep things modular while still working with our light-baking approach. We went heavily down the prefab route to keep everything as organized as possible.
We aimed to create different atmospheres throughout the major areas of the conference, loosely following the seasons: spring as you enter, summer in the middle, and autumn/winter towards the end. It was like a year-long walk through nature, all in one conference—minus the unpredictable weather and allergies.
This was one of the most ambitious projects I've ever worked on and the first project I tackled when I joined Liquid City, setting the tone for the type of work they do. Although I was less involved in the technical aspects, it was incredibly ambitious to create conference-scale content. We used Niantic's VPS and created POIs across the entire conference to continually update asset positions, ensuring everything was correctly positioned and occluded.
One of the most successful aspects of the experience was the creatures we created, such as the huge dragon eel that flew through the entire conference, impressing attendees, it was amusing watching the various attendees attempting to follow the eel throughout the conference.
This was one of the most ambitious projects I've ever worked on and the first project I tackled when I joined Liquid City, setting the tone for the type of work they do. Although I was less involved in the technical aspects, it was incredibly ambitious to create conference-scale content. We used Niantic's VPS and created POIs across the entire conference to continually update asset positions, ensuring everything was correctly positioned and occluded.
One of the most successful aspects of the experience was the creatures we created, such as the huge dragon eel that flew through the entire conference, impressing attendees, it was amusing watching the various attendees attempting to follow the eel throughout the conference.
This was one of the most ambitious projects I've ever worked on and the first project I tackled when I joined Liquid City, setting the tone for the type of work they do. Although I was less involved in the technical aspects, it was incredibly ambitious to create conference-scale content. We used Niantic's VPS and created POIs across the entire conference to continually update asset positions, ensuring everything was correctly positioned and occluded.
One of the most successful aspects of the experience was the creatures we created, such as the huge dragon eel that flew through the entire conference, impressing attendees, it was amusing watching the various attendees attempting to follow the eel throughout the conference.
Credits
Creative Direction
Dave Johannson
Maya Lunda
Creative Direction
Dave Johannson
Maya Lunda
Creative Direction
Dave Johannson
Maya Lunda
Motion Design
James Weider
Motion Design
James Weider
Motion Design
James Weider
Design
Mike Smith
Design
Mike Smith
Design
Mike Smith