Blender Institute Podcast #016 - Sybren
- 10 Mar 2016
- 1 min read
This week we welcome Sybren on the BI team!
- 01:00 Andy's week in VR
- 08:45 Hjalti's VR animation tests
- 15:48 Blender Cloud notifications
- 22:15 Welcome Sybren!
- 31:51 Upcoming Flexirig video
- 35:08 Casting actors for short films
- 38:26 Crowd-sourcing animation
- 48:43 Merging vertices
- 51:07 European animated movies
In this podcast: Andy, Hjalti, Pablo, Francesco, Sybren
Music: Blabetté de Metz (Psy-Jazz Mix) - (cc-by-nc) keytronic
6 comments
Hi, I wan't to ask something to Hjialti for the next podcast, when you're animating a character from an audio (like in the 11seconds club), do you listen the audio all the time or there are moments when you mute it? I mean, is necessary to listen the audio all the time until it has been recorder deeply in you're brain?
How do you choose the successful student candidates for GSoC overall? And if there are many students wanting to do the same task, how do you choose between them?
I will also ask some VR related questions, are any of you planning on buying a consumer VR headset? Does anyone own the GearVR and if so are you still enjoying it? Have you guys seen the stuff the Oculus Story Studio is creating like the Lost short movie or the Henry short?
Maybe someone will find this talk about VR filmmaking from Oculus Connect 2 interesting, they talk about the various ways they try and keep the user focused.
A question about camera cuts in VR: I live across the road from a small convenience store. As I was walking across the road to waste some money, I noticed the focus of my attention shifted more by what I heard than anything else. There was an obnoxious hot rod to the right, and some mechanical noise from the store's heating/cooling unit in front to the left. My question is: can Blender use sound stereoscopically to lead one's attention to the direction of the camera's next cut? I can't help but feel that sound is often underrated as a directorial device.
So great that the podcast is appearing quickly bow. It used to lag behind by a week. Anyway regarding edits in VR you could try a prelap or J cut audio edit. Thats where the incoming sound fades up before the vision cut. Its a subconscious cue for viewers to prepare for a change. Also music cues can achieve this effect.
Unfortunately many seamless action or continuity edits in regular video use directed viewing. This can rely on the region of the screen gaining the viewer's attention. Not typically how vr users behave. Squirrel!
@3pointedit: You can definitely guide the viewer's eye to the action, it's just a matter of the artist utilizing motion design and flow in the first place. The advantage of VR is that you can have action everywhere, so artists do that, but then it detracts from the thing you want to show.
I found a nice little browser-based demo some months ago that had this exact problem (I think it was a squirrel-thing that got sucked up in a flying saucer). It had a main story it wanted to show, but it kept putting little tidbits in the background that would draw your eye away from the action. Or there were long pauses in action that would leave you wandering the world, only to put the action back behind you.
I can see cuts working by putting each shot's action in the same area, much like in regular video. I've had a little VR action at a demo a while back and the cuts there worked well enough for me. I think it's more about putting fewer distractions in the rest of the world.
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