Virgin Galactic Spaceship
Spaceship digital twin
Details
Seymour Powell brought me on to help design the Virgin Galactic spaceship. We created both a VR and an AR mobile experience to showcase the ship's interior and the overall flight experience. I worked on building the VR experience, modeling the ship, creating camera animations, rendering, and more.
We also developed VR design tools to visualize the ship's interior, allowing for choices around colours, materials, and finishes.
Seymour Powell brought me on to help design the Virgin Galactic spaceship. We created both a VR and an AR mobile experience to showcase the ship's interior and the overall flight experience. I worked on building the VR experience, modeling the ship, creating camera animations, rendering, and more.
We also developed VR design tools to visualize the ship's interior, allowing for choices around colours, materials, and finishes.
Seymour Powell brought me on to help design the Virgin Galactic spaceship. We created both a VR and an AR mobile experience to showcase the ship's interior and the overall flight experience. I worked on building the VR experience, modeling the ship, creating camera animations, rendering, and more.
We also developed VR design tools to visualize the ship's interior, allowing for choices around colours, materials, and finishes.
Services
3D Artist
Designer
Year
2020/21
During the design of the Virgin Galactic spaceship interior, our team created a constantly-evolving digital twin within a bespoke, immersive VR platform. This approach facilitated collaboration across multiple locations, minimized the need for physical access to the prototype, and expedited decision-making during iterative design phases.
The assets developed and the confidence built among the teams allowed us to quickly adapt to the global pandemic. We pivoted from a planned physical reveal event to a virtual reveal.
We also developed a VIP VR experience for Meta Quest headsets and a public-facing AR app, available on iOS and Android app stores.
During the design of the Virgin Galactic spaceship interior, our team created a constantly-evolving digital twin within a bespoke, immersive VR platform. This approach facilitated collaboration across multiple locations, minimized the need for physical access to the prototype, and expedited decision-making during iterative design phases.
The assets developed and the confidence built among the teams allowed us to quickly adapt to the global pandemic. We pivoted from a planned physical reveal event to a virtual reveal.
We also developed a VIP VR experience for Meta Quest headsets and a public-facing AR app, available on iOS and Android app stores.
During the design of the Virgin Galactic spaceship interior, our team created a constantly-evolving digital twin within a bespoke, immersive VR platform. This approach facilitated collaboration across multiple locations, minimized the need for physical access to the prototype, and expedited decision-making during iterative design phases.
The assets developed and the confidence built among the teams allowed us to quickly adapt to the global pandemic. We pivoted from a planned physical reveal event to a virtual reveal.
We also developed a VIP VR experience for Meta Quest headsets and a public-facing AR app, available on iOS and Android app stores.
A significant challenge was achieving the best-looking experience with the limited tools available at the time, especially since we were restricted to the Quest 1. Optimization was crucial, particularly given the short deadline. To enhance the visual quality, we extensively used light baking in Maya and Vray and created custom shaders to smoothly transition between textures as the environment changed.
A significant challenge was achieving the best-looking experience with the limited tools available at the time, especially since we were restricted to the Quest 1. Optimization was crucial, particularly given the short deadline. To enhance the visual quality, we extensively used light baking in Maya and Vray and created custom shaders to smoothly transition between textures as the environment changed.
A significant challenge was achieving the best-looking experience with the limited tools available at the time, especially since we were restricted to the Quest 1. Optimization was crucial, particularly given the short deadline. To enhance the visual quality, we extensively used light baking in Maya and Vray and created custom shaders to smoothly transition between textures as the environment changed.
Credits
Creative Direction and Design
Seymour Powell team
Creative Direction and Design
Seymour Powell team
Creative Direction and Design
Seymour Powell team