The festival is taking place in real life (September 2–12), but the vr works will only be accessible online.
Aardman is taking Wallace and Gromit into augmented reality.
Zeyu Ren explains how he thinks Quill could benefit all animators working in 3d.
Layoffs have taken place in both Florida and New Zealand.
The projects include feature films, series, games, and works of augmented and virtual reality.
German artist Dan Franke is showing off the capabilities of vr animation in Quill.
The organizers define virtual beings as “a character that you know isn’t real but with whom you can build a two-way emotional relationship.”
Among the offerings is the world premiere of Disney’s second vr project, “A Kite’s Tail.”
“If you have an idea for a short that involves story, for God’s sake don’t do it in vr.”
Tribeca attendees had a massive range of styles, narratives (both linear and non-linear), gameplay, and immersion to choose from this year.
Ninety vr projects were submitted to Annecy this year; nine were chosen.
Tribeca Film Festival is a key event to discover immersive vr/ar experiences, many of them which use animation.
“There are no experts in virtual reality,” says Corentin Lambot. “If someone says they are one, don’t believe them.”
Cartoon Brew gets an early preview of Ollie VR, a new tool designed to ease people into animating in vr.
The unit, which lasted for six years, pushed the development of immersive and interactive 360 storytelling, especially for vr.
Disney’s new PoseVR tool allows cg animators to work with character rigs in 3d space.
“Crow: The Legend” sees the studio mix story narrative and interaction in a big way.
Debuting online today: the new Spotlight Stories short by “Paperman” director John Kahrs.
VR projects are getting a place in the festival’s competition line-up, and a second competitive section for features is opening up.