Sneak Peek – DP 02 : 17

New year—more focus topics: in issue 02:17, we take a closer look at the current hype topics AR & VR and explain what lies behind them and where the technology journey can go. Our second focus will make the hearts of Mograph artists beat faster.

Archive notice: This article was originally published on December 4, 2016. Links and embedded videos are preserved as part of the historical record.

(All topics subject to change)

Alternative realities

Many claim to be VR and AR specialists, but only a few are already actually working practically in this field with presentable results, such as Re’flekt from Munich. We spoke with the team about their AR and 360-degree platform, with which customers can edit their content themselves, and about the technology with the best prospects for the future.

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In addition, Philipp Maas from Filmakademie Baden-Württemberg explains how his full-CG VR film “Sonar” was created, and Milkroom Studios shows what they are currently working on in the area of AR and VR games.

Motion Graphics

Timo Fechner has written an entire book on the topic of “Motion Graphics”. In DP 02 : 16, he will give tips for motion design and use a concrete example to show how best to approach such a work. There will be further workshops on Blender Nodes, title design, and Crazy Talk Animator.

Further workshops & tests

This time, we have our eye on the “gray eminence” among editing systems: we take a look at the current features of the Avid Media Composers.

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In our Grooming workshop, we show you how to style digital hair with Maya XGen without consulting a hairdresser.

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Making-ofs

“Fantastic Beasts and Where to Find Them”—Cinesite and MPC were heavily involved in the “Harry Potter” spin-off and reveal in the next issue how much magical power was needed for the film’s effects.

FANTASTIC BEASTS AND WHERE TO FIND THEM
One of the fantastic beasts: the Niffler, Credit: Courtesy of Warner Bros. Pictures

Magic is cool; “Doctor Strange” also has a high level of expertise in this area. We spoke with Luma Pictures about the realization of the elaborate opening sequence as well as the general requirements of such a demanding VFX project.

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“Doctor Strange”; Marvel/Walt Disney Company

Also: behind the scenes of an art installation with 12 projectors, 1,256 m² of played area, 11 TB of data, and ultimately 65O.OOO frames.

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And of course, once again there are numerous animago making-ofs, including one about a very gluttonous chameleon and a snail with a turbo drive, as well as numerous workshops and tests of other tools.