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UK Immersive Pitch and Demo Brochure - SXSW 2019

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UK Immersive Pitch and Demo Brochure - SXSW 2019

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An overview of pitch and demos presented at the UK Immersive Pitch and Demo event at SXSW 2019 in Austin, Texas. Delegates experienced demos and watched lightning pitches from the best and the brightest UK content creators, with representatives from the UK’s commercial, cultural and academic organisations.

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  1. 1. UK Immersive Pitch & Demo March 2019
  2. 2. Immersive technologies are transforming the way we consume creative content. There are currently over 1,000 immersive companies in the UK. Many immersive companies in the UK are creating ground-breaking virtual, augmented and mixed reality (VR, AR and MR) content. With over 1,000 immersive companies in the UK this should come as no surprise, as the UK’s creative industries form the fastest growing part of the UK economy, generating £101.5 billion in gross value added (GVA) and world-leading cutting-edge creative tech, exporting more than £40 billion in goods and services, while simultaneously creating jobs at double the rate of the UK’s average job growth. 01
  3. 3. Today you will hear and experience demos from the best and the brightest of these content creators, with representatives from the UK’s commercial, cultural and academic organisations. These organisations are propelling their innovations onto the global stage. Many are looking for collaborators, commissioners and investors to take their content to the next level. With thanks to British Underground, Digital Catapult and UKRI for selecting these organisations to showcase ground-breaking projects today. ORGANISATIONS SHOWCASE TYPE PAGE 59 Productions Pitch 4 Bournemouth University Demo 6 CreativeXR Pitch 8 ESL UK Pitch 10 Factory42 Pitch 12 FutureEverything Pitch 14 Glasgow School of Art Demo 16 Italic Pig Pitch 18 King’s Digital Lab Pitch & Demo 20 Maze Theory Pitch & Demo 22 Raskl Studio + Workshop Pitch 24 Royal Shakespeare Company Pitch 26 StoryFutures Pitch 28 University of Brighton Demo 30 University of Edinburgh Demo 32 UK IMMERSIVE PITCH & DEMO DAY ORGANISATIONS 03
  4. 4. 59 Productions London, UK www.59productions.co.uk @59productions LEAD CONTACT Lysander Ashton Director lysander@fiftynineproductions.co.uk TEAM PROFILE 59 Productions has a background in theatrical design, incorporating animation, interactivity and projection design into physical performance environments, galleries and exhibition spaces. It is particularly interested in how XR can be integrated into theatrical performance, as well as how traditional forms of stage- craft can be augmented with digital technology. The intersection between projection mapping and augmented reality is something which the team are particularly focused on exploring. OVERVIEW OF PROJECT The pitch presentation will give an overview of 59 Productions experimentation into the combination of set design, projection mapping and mixed reality (MR), which has a specific application to a project the team are developing. More wide reaching, this pitch will identify the commercial potential for the use of MR in a variety of arts and commercial contexts. COMPANY’S ASK 59 Productions is keen to expand its network of industry contacts and share the team’s experimental practices with commercial, technological and artistic partners. 59 Productions would also be interested in meeting potential investors, commissioners, leaders of cultural or commercial institutions as well as decision makers from other arts sectors, who may see an application for the company’s experiments in their own field. It is also interested in meeting with experts with a particular interest in arts/science crossover projects. 59 PRODUCTIONS PITCH Combining art and technology to tell amazing stories. 59 Productions is an award winning team of creative people making imaginative work for audiences of all kinds. The company’s designers, writers, directors, architects, animators, visual artists and technologists work together to produce artistic work in a range of disciplines. From architectural projection mapping to exhibition design; VR experiences to events; theatrical design to technical consultancy, 59’s team combines art and technology to tell amazing stories. fifty nine productions 0504
  5. 5. DEMO Bournemouth University Bournemouth, UK research.bournemouth.ac.uk/project/ virtual-avebury-an-immersive-partnership @Bournemouthuni LEAD CONTACT Professor Kate Welham Professor of Archaeological Science kwelham@bmth.ac.uk TEAM PROFILE For the Virtual Avebury project, the team worked to create and then evaluate a virtual simulation of the Avebury Stone Circle and Henge complex (part of the UNESCO Stonehenge, Avebury and Associated Sites World Heritage Site) approximately 4,300 years ago. OVERVIEW OF PROJECT Ancient monuments are remains of a distant past that can now appear out of context, ruined, or discernible only as subtle marks in the landscape. Some are hidden completely beneath later buildings or the reworking of the land. Virtual simulations have the potential to illuminate what is now imperceptible and to put back into context what is now isolated and incongruous. They can give us a means of connecting with people and cultures from which we are separated by thousands of years. Virtual Avebury brings together researchers and practitioners in archaeology, heritage management, virtual reality, soundscapes and education. BOURNEMOUTH UNIVERSITY A virtual world simulation experienced as a visual and auditory landscape on mobile devices, or as a fully immersive visual and auditory experience using 3D headsets and haptic (touch) devices. Bournemouth University has over 19,000 students and is ranked as one of the top 200 young universities in the world. The university is at the forefront of computer graphics and animation education and research, and home to the National Centre for Computer Animation. The university is ambitious in developing the application of animation, simulation and visualisation across a wide range of disciplines including culture and heritage. Bournemouth University benefits from a wonderful location, situated between one of the UK’s newest national parks and the second largest natural harbour in the world. 0706
  6. 6. Digital Catapult and Arts Council England London, UK www.digicatapult.org.uk/projects/ creative-xr @DigiCatapult LEAD CONTACT Rebecca Gregory-Clarke Head of Technology (Immersive) – Digital Catapult rebecca.gregory-clarke@digicatapult .org.uk TEAM PROFILE Arts Council England and Digital Catapult are working with organisations and academia to inspire new products, services and business models and increase the early adoption of digital technology. OVERVIEW OF PROJECT CreativeXR gives teams the platform to focus on R&D and develop riskier, content driven projects that contribute to developing new skills, tools, and business opportunities. This will make it easier for the UK’s creative talent to experiment with immersive technology and develop experiences that range from, for instance, taking a historic walk through the streets of London, through to becoming an integral part of solving a murder mystery. COMPANY’S ASK CreativeXR runs a marketplace event to connect content creators with potential commissioners, financiers, exhibitors, and distributors who might partner with them on the next phase. We are looking for those working in this area who may wish to become involved as a mentor of the programme or an attendee of this marketplace, and in doing so meet and support some of the brightest creative talent in the UK. CREATIVEXR PITCH CreativeXR provides creative talent the opportunity to experiment with immersive technologies to develop new experiences that inspire audiences. Now in its second year, CreativeXR is a content acceleration programme developed by Digital Catapult and Arts Council England. It boosts around 20 immersive content creators by providing early stage seed funding, mentorship and workshops to build prototypes and explore new ways of storytelling enabled by virtual, augmented and mixed reality technology. Companies also have the opportunity to pitch for further funding through an industry marketplace. 0908
  7. 7. ESL UK London, UK weavr.tv @ESLUK LEAD CONTACT James Dean Managing Director j.dean@eslgaming.com TEAM PROFILE James Dean is the founder and Managing Director of the ESL UK subsidiary, building the ESL brand and community on a regional level. James began his career in IT writing for UK’s largest computer magazine while studying for a degree in computer science at Birmingham University. After graduating James managed the PC division of a well known computer retailer in the UK and in 2004 launched a gaming brand of PCs increasing average margins from 6% to 20%. In 2006, James founded a sales, marketing and PR company specialising in services for the IT and gaming industry, representing brands without existing operations in the UK. Within three years, the agency was generating over £5m annual revenues for various niche gaming brands including SteelSeries, the well- known esports peripheral brand. This shaped the foundation of the ESL UK franchise after the introduction to ESL Germany in 2012, which was eventually purchased by ESL’s global group in 2016. ESL is the world’s largest esports company with 15 offices spanning the globe. The UK office has maintained over 50% year-on-year growth since its foundation. It operates the UK’s longest running national esports tournament, the ESL Premiership currently spanning four gaming titles. To this date, ESL still holds records for the largest ever online audience for a UK esports tournament. OVERVIEW OF PROJECT The Weavr Consortium has answered UK Research and Innovation’s call to look at Audience of the Future, with a ground-breaking demonstrator project exploring a cross-reality, data driven, highly personalised viewing experience for esports. The consortium consisting of ESL, York University, dock10, Cybula, Focal Point VR & Rewind will operate a £5.8m project over two years, £4m of which is funded by UK Research and Innovation. ESL UK PITCH WEAVR: re-imagining sports broadcast. Esports are set to redefine entertainment and sports broadcasting after the UK government awards £4m of funding to create new AI powered, immersive audience experiences. Weavr will create cross-reality viewing experiences allowing fans to immerse themselves in high fidelity statistics, visualisations and data-driven stories that give them deep insights into the live match. This will enable them to seamlessly move between virtual and physical viewing, as well as utilise second screens to watch immersive esports content on the go. The use of artificial intelligence and data learning to create highly personalised viewing experiences will allow for fully interactive and individualised insights for the audience. This will permit the project to demonstrate knowledge of how audiences of the future engage in immersive experiences and the pathways to future commercialisation. 1110
  8. 8. Factory 42 Ltd London, UK www.factory42.uk @factoryforty2 LEAD CONTACT John Cassy Founder and CEO john@factory42.uk TEAM PROFILE The team at Factory 42 Ltd are a group of producers, designers, writers, directors, engineers, artists, software developers, architects, academics and neuroscientists creating compelling, immersive stories and experiences. John Cassy oversees the strategic and creative direction of the company as well as Executive Producing major projects. John spent more than a decade in senior roles at Sky launching and running new channels and technology, while commissioning across genres from sports to factual to music to arts. He is a board Governor of the International Advanced Imaging Society in LA, as well as a Trustee of the Almeida Theatre, London’s 2018 Theatre of the Year. He is an Honorary Professor of Humanities at University of Exeter. OVERVIEW OF PROJECT Get the low down on Europe’s most ambitious location based mixed reality experiences. John Cassy, CEO of the award winning London based immersive content studio Factory 42 and overall producer of the experiences explains how Magic Leap, Comcast’s Sky and award winning London theatre, The Almeida, are combining to create two ground breaking, narrative driven, group experiences at London’s iconic Natural History Museum and Science Museums. COMPANY’S ASK Factory 42 Ltd is looking to gain partnership, distribution and localisation opportunities. FACTORY 42 PITCH Factory 42 is a fast growing next generation production studio creating world class content and experiences at the intersection of film and games. Recent projects from Factory42 include a ground-breaking Sir David Attenborough interactive virtual reality (VR) project Hold The World at the Natural History Museum, and a high profile documentary, multiple VR experiences and a major exhibition at the Royal Academy of Arts. Upcoming work includes Dinosaurs and Robots, two adventure game based mixed reality experiences at two of London’s best known museums. 1312
  9. 9. FutureEverything Manchester, UK www.futureverything.org @futureverything LEAD CONTACT Irini Papadimitriou Creative Director irini@futureeverything.org TEAM PROFILE Working alongside commissioned Artist Naho Matsuda, at SXSW the team includes art curators, producers and industrial designers. OVERVIEW OF PROJECT Data surrounds us, nowhere more so than in our cities. What kind of stories can urban data tell about a city? Harnessing public art to explore the ‘Smart City’, Naho Matsuda’s EVERY THING EVERY TIME broadcasts poetry on mechanical display, urging deeper reflection on the role of data in our lives. COMPANY’S ASK By participating in this event FutureEverything aims to develop partnerships with cultural organisations and city leaders to tour the work, and subsequently attract support from philanthropy and private enterprise to enable it to continue developing EVERY THING EVERY TIME with artist Naho Matsuda. FUTUREEVERYTHING PITCH Established in Manchester (UK) in 1995, FutureEverything is an award-winning innovation lab and cultural agency that has helped shape the emergence of digital culture in Europe. Taking an artist-led and human-centred approach, FutureEverything is passionate about bringing people together to discover, share and experience new ideas for the future, creating opportunities for people to consider, challenge and test the use of technology in creative and unexpected ways. 1514
  10. 10. DEMO The Glasgow School of Art Glasgow, UK www.gsa.ac.uk @GSofA LEAD CONTACT Professor Steve Love Senior Researcher s.love@gsa.ac.uk TEAM PROFILE Professor Steve Love’s primary research expertise is investigating the impact of digital applications and services on people’s behaviour and lives. His research has been sponsored by funders such as the AHRC, ESRC, EPSRC, InnovateUK, Scottish Funding Council, European Space Agency, the European Social Fund, BT and Sharp Laboratories Europe. He is a Fellow of the Design Research Society. OVERVIEW OF PROJECT Working with industrial collaborators ISOdesign, the team at The School of Simulation and Visualisation at The Glasgow School of Art created a range of virtual and augmented reality outputs looking at the historic sculpture within the environment of the GSA. The team adopted a user-centred design and rapid application development (RAD) approach to develop a five minute, linear virtual reality experience where users are taken through a series of virtual spaces. By using object and environmental scans and digital materials from the GSA archive, users can experience a rich, emotionally engaging recreation of a key plaster cast sculpture, the Laocoon. They learn about the extraordinary story of the sculpture’s mythology and history. They learn of the damage it suffered during the 2014 fire at the School of Art, its restoration and then of the Laocoon’s ultimate destruction in the 2018 fire. GLASGOW SCHOOL OF ART The studio provides specialist, practice-led learning and research and draws talented individuals with a shared passion for visual culture and creative production from all over the world. The Glasgow School of Art (GSA) is one of Europe’s leading independent university-level institutions for the visual creative disciplines. As one of the UK’s largest and most intensive research communities for the visual creative disciplines, GSA’s research activity (80% of staff are research active) is clustered into the following interdisciplinary themes: architecture, urbanism and the public sphere; contemporary art and curating; design innovation; digital visualisation; education in art, design and architecture; health and wellbeing; material culture; sustainability. 1716
  11. 11. Italic Pig Holywood, Northern Ireland www.italicpig.com @italicpig LEAD CONTACT Kevin Beimers Director kevin@italicpig.com TEAM PROFILE From the sheer variety of projects Italic Pig work on, the quirkiness of the team, to the benefits that the company offers, Italic Pig prides itself as standing out from the crowd. You won’t find 100-hour work weeks here, but you will find a team of passionate game developers and artists that are given the chance to fully thrive in our studio. Italic Pig is based outside of Belfast (Northern Ireland, UK) in the seaside town of Holywood. The team’s workspace is a rambling three story townhouse that is having its own unique stamp put on with graffiti art, cafe space and a custom Schrodinger’s Cat arcade machine. Luckily for the team, there’s room to grow and expand as a company. The entire team is active in the UK game and animation industries with Kevin Beimers being a regular speaker at events throughout the world. OVERVIEW OF PROJECT The Infinite Hotel is an immersive VR narrative adventure game. An inter- dimensional holiday resort constructed from impossible architecture, packed with the strangest collection of beasts in the universe. It boasts the ability to cater to everything and everyone, thanks to the fact that it has an infinite number of floors, an infinite number of rooms, and an infinite star approval rating. You’re the elevator operator. You’ve got work to do. The team will be demoing The Infinite Hotel at two Northern Irish events: Immersed in NI, and the Belfast City Council Boat Networking Trip. COMPANY’S ASK Italic Pig is looking for project investment in the form of finishing funds and marketing/promotional support to turn the demo into a full game. ITALIC PIG PITCH A grand-scale adventure in a room-scale space. The Infinite Hotel is an unpredictable, character-driven, vertical virtual reality (VR) adventure, combining the addictive task fulfilment mechanics of award- winning games like Job Simulator, the inadvertent (and persistent) character repercussions of Papers Please, the multi-threaded narrative hooks of Grim Fandango, and a sense of boundless scale... all from inside a five foot square. 1918
  12. 12. PITCH & DEMO King’s Digital Lab, King’s College London London, UK www.kdl.kcl.ac.uk @kingsdigitallab LEAD CONTACT Elliott Hall Senior Research Software Engineer elliott.hall@kcl.ac.uk TEAM PROFILE Elliott Hall, Senior Software Engineer at King’s Digital Lab, is a developer, writer, and theatre practitioner. He created the immersive augmented reality experience The Digital Ghost Hunt and is also the author of the Strange Trilogy published by John Murray, as well as works in film and theatre. OVERVIEW OF PROJECT Digital Ghost Hunt begins when a normal school assembly is interrupted by Deputy Undersecretary Quill from the Ministry of Real Paranormal Hygiene, there to recruit the school’s Year Five (age 10-11) class into the Department’s Ghost Removal Section. The young ghost hunters learn how to program their own paranormal detectors – made from two microcomputers, a Raspberry Pi and a Micro:bit. The students then use the detectors in an immersive show to discover ghostly traces, translate Morse code using flickering lights and find messages left in ultraviolet ectoplasm. Together, the pupils uncover who the ghost is and why she is haunting the building, unmask a villain, find a stolen necklace, clear the ghost’s name, right an old wrong, and set her free. COMPANY’S ASK The team at King’s Digital Lab will be pitching and demoing at the showcase event with the goal of opening up new partnership and distribution opportunities. KING’S DIGITAL LAB Digital Ghost Hunt combines coding education, augmented reality and live performance into an immersive storytelling experience. King’s Digital Lab believes the project has potential both as an educational tool to get students, particularly girls, interested in coding as a tool of imagination, and building experiences that tell great stories using unique places such as museums and historical sites. The team is interested in exploring these ideas with new partners and collaborators as the project enters a new phase of development. 2120
  13. 13. PITCH & DEMO Maze Theory Nottingham, UK www.maze-theory.com @ianhambleton LEAD CONTACT Ian Hambleton CEO ian@maze-theory.com TEAM PROFILE Digital Entertainment studio Maze Theory works at the boundaries of virtual imagination. In 2019 the studios R&D programme will bring artificial intelligence characters into all of its games. Through narrative characters that respond to gestures, voice and body language, we’ll create personal interactions that feel more human, creating new levels of immersion, unique to VR. OVERVIEW OF PROJECT An early test demo, focusing on one of the early David Tennant Doctor Who episodes and fans’ favourite “Blink”. The tenth episode of the third series of the British science fiction television series Doctor Who, “Blink” was first broadcast on 9 June 2007 on BBC One. It received widespread critical acclaim, and is widely considered to be one of the best episodes of the show. Writer Steven Moffat won the BAFTA Craft and BAFTA Cymru awards for Best Writer, and the Hugo Award for Best Dramatic Presentation, Short Form. In 2009 the episode was voted the second best Doctor Who story ever by readers of Doctor Who Magazine. MAZE THEORY Creating new depths and levels of immersion through artificial intelligence. A restless team of digital creatives on a mission to conquer the world of virtual reality. Maze Theory believes in pushing and redrawing the boundaries of the imagination and bringing to life virtual entertainment experiences that will engage and blow the senses. Drawing on the team’s vast experience in animation, games development, film production and storytelling to produce the best in virtual reality (VR), the team work tirelessly seeking out new ideas that will push the very latest in VR capabilities. But ground-breaking tech is not the end goal – the focus is on redrawing the lines of storytelling and creating truly awesome immersive adventures. 2322
  14. 14. Raskl Newcastle, UK www.raskl.co.uk @RasklDesign LEAD CONTACT Dan Rose Designer and Director dan@raskl.co.uk TEAM PROFILE David Angus and Dan Rose have been collaborating on projects for over 15 years, David from an engineering background and Dan from music and arts. The team’s journey has taken them from tinkering in a garage, incorporating in 2005 and growing to a workforce of eight in a comprehensively equipped CNC workshop. While offering a serious industrial service the company is proud of its friendly and approachable way of doing business; ever expanding its network of friends, clients and collaborators. OVERVIEW OF PROJECT Two projects at either end of the scale that Raskl produce: A 9m tall Camera Obscura in abstract low-poly parrot form [www.raskl.co.uk/Polly] and the piece being exhibited at SXSW - a split-flap display which interacts with Smart-City Data. COMPANY’S ASK Raskl is pitching during the showcase with the aim of developing business and opportunities to collaborate globally. Raskl believes it has a unique skill set: bringing design, engineering, hi-tech, low-tech, architecture, local authority negotiation, main contractor liaison etc. together all under one roof. Raskl is frequently invited as preferred contractors in the UK and would like to expand on this. RASKL STUDIO + WORKSHOP PITCH Creative thinking for art and architecture – design, tech and fabrication. Having initially worked on furniture and architectural design solutions, Raskl now focuses almost exclusively on art production projects. This is where the team’s passion truly lies and is a field which arguably makes the best use of their extremely diverse experience and skills. The real value the team brings to a project is in bridging the gap between artists, architects, engineers and planners. By developing concepts from the ground up, and by keeping all of the fabrication in house, Raskl is able to advise reliably on feasibility and costs, without losing the spirit of a project or engineering the fun out of it. 2524
  15. 15. Royal Shakespeare Company Stratford-upon-Avon, UK www.rsc.org.uk @TheRSC LEAD CONTACT Sarah Ellis Director of Digital Development sarah.ellis@rsc.org.uk TEAM PROFILE Everyone at the Royal Shakespeare Company plays a part in creating work and sharing it with audiences. The company employs a huge range of people, including directors, writers, actors as well as other creative, technical and administrative staff. OVERVIEW OF PROJECT Seven Ages of Man by William Shakespeare is a collaboration between the Royal Shakespeare Company and Magic Leap. You can see the experience at the British Music Embassy on Sunday 10 March. Collaborations to date with Intel and Magic Leap have lead to a large-scale collaboration for live performance as part of the Audience of the Future demonstrator project. Royal Shakespeare Company is looking for partners to join it and create a performance in 2020. COMPANY’S ASK The team is looking for partners to join collaborations and create a performance in 2020: funders, collaborators, investment, connections. ROYAL SHAKESPEARE COMPANY PITCH The Royal Shakespeare Company and Magic Leap create a mixed reality experience using cutting-edge volumetric capture with Shakespearean actor Robert Gilbert and an original musical score by award-winning composer Jessica Curry performing the famous Seven Ages speech from As You Like It. The Royal Shakespeare Company explores the future of theatre with Magic Leap in this sublime production of the Seven Ages of Man speech from Shakespeare’s As You Like It. Here the company presents a mixed reality experience using cutting-edge volumetric capture with Shakespearean actor Robert Gilbert and an original musical score by award-winning composer Jessica Curry. The line “all the world’s a stage” turns literal as users experience the play in multiple and simultaneous places. 2726
  16. 16. StoryFutures Academy (Royal Holloway University of London) London, UK www.storyfutures.com/academy @StoryFutures LEAD CONTACT Amanda Murphy Executive Producer amanda.murphy@rhul.ac.uk TEAM PROFILE Amanda Murphy is an established Executive Producer with a track record in producing large scale television productions for multiple markets, and in establishing first series and formats such as the UK’s first Big Brother and Supernanny which sold to 47 countries. She has worked in academic research for the last five years, most recently as producer of the Adapt TV hands on history project, creating a new film archive of veterans reunited with kit they used to work with, reusing it. She is presently EP of StoryFutures Academy and also a Senior Teaching Fellow in Media Arts at RHUL. OVERVIEW OF PROJECT Exploring the range of opportunities to collaborate with the UK’s new National Centre for Immersive Storytelling. StoryFutures Academy is an unique partnership between the UK’s leading screen industries’ training provider, the National Film and Television School, and one of the UK’s leading research institutions, the Royal Holloway University of London. The team is bringing together some of the world’s leading screen industry talent, with cutting edge training and research to exploit this new medium. COMPANY’S ASK Collaborators to pioneer immersive experiences across the creative industries and develop cutting-edge creative training and research programmes in immersive storytelling. STORYFUTURES ACADEMY PITCH Promoting innovation in story form with proven talent. There are a wealth of opportunities from sharing expertise, showcasing new work, co-curating labs to collaborating on new exciting cutting edge immersive productions. 2928
  17. 17. DEMO University of Brighton Brighton, UK www.brighton.ac.uk LEAD CONTACT Donna Close Senior Research Fellow/Creative Producer d.close2@brighton.ac.uk TEAM PROFILE Donna Close is a creative producer, cultural strategist and research fellow specialising in projects, partnerships and research that investigates the role that creativity and cultural production processes have in cultural, social and economic impact and in amplifying value. Over 25 years, she has developed award winning festivals built around new commissions and new ways of working focused on immersive and inclusive audience experiences. OVERVIEW OF PROJECT The project asks what could happen if specialists in haptic, interactive, and immersive technologies came together with circus artists, artists who are used to taking creative and physical risks. What innovations in creative content, and what new types of audience experiences might be possible if collaboration and experimentation were enabled? Diversity and inclusivity also occupied a central role. The project considered how to improve access to these art forms. By providing new pathways to access circus and street theatre, they can be opened up for those who may conventionally struggle to participate. XR: CIRCUS / EXTRAORDINARY CIRCUS XR Circus is centred on a creative collision between leading immersive technologists and circus artists in order to imagine a circus befitting of the 21st century. The University of Brighton is a practice based research and education organisation based in Brighton: one of the UK’s most important creative clusters. The University of Brighton believes in ‘Practical Wisdom’ creating knowledge through practice – academic, professional and creative – and through partnerships with industry, government and communities. The School of Media leads on international research into how innovation can be driven through creativity and inclusivity. Research and enterprise under ‘Connected Futures’ explores how digital technologies can enable the creation and distribution of content for social, cultural and business purposes. 3130
  18. 18. DEMO University of Edinburgh Edinburgh, UK www.eca.ed.ac.uk/research/space-place- sound-and-memory LEAD CONTACT Dr James Cook Lecturer in Early Music, Programme Director, BMus jcook2@ed.ac.uk TEAM PROFILE Dr James Cook is lecturer in Early Music at the University of Edinburgh. He works in the apparently disparate fields of medieval and Renaissance music and music for TV, Film, and Video Game. These interests are brought together in his AHRC-funded project to recreate, in virtual reality, lost performances and performance spaces. OVERVIEW OF PROJECT The team brought together staff at the University of Edinburgh working with Dr James Cook, and at the University of Abertay under Dr Kenny McAlpine. Working closely with game developers, musicologists, architectural historians, early music performers, the museum sector, and acousticians, the team set out to recreate the sounds and sensations of early music performance in virtual reality. The project is hosted by the Reid School of Music at the University of Edinburgh. The University of Edinburgh is currently ranked 18th in the world, and the department of music is widely known for its research in both musicology and acoustics. SPACE, PLACE, SOUND AND MEMORY: IMMERSIVE EXPERIENCES OF THE PAST Imagine experiencing a musical moment from the past: a rich, sensory experience that combines the flickering light from candles, the exquisite performance of centuries- old music, and the warm acoustics and magnificent decoration of a performance space that now no longer exists. The Space, Place, Sound and Memory project brings together cross- disciplinary expertise from a range of academic, industry, and cultural partners to explore the point where performance practice, gaming and virtual reality, technology, and culture and heritage meet. It uses 3D imaging, binaural, and surround sound and room-impulse responses to create a software application that allows users to experience the performance of Early Music in an accurately-modelled historic space. 3332
  19. 19. DISCOVER THE POTENTIAL OF IMMERSIVE TECHNOLOGIES Digital Catapult offers a game-changing portfolio of programmes and facilities to bring together immersive technologies’ growing ecosystem. Digital Catapult offers facilities such as Dimension and the Immersive Labs and runs innovation programmes including Augmentor and CreativeXR. This provides unrivalled access to the latest developments in virtual and augmented reality and supports the development of a strong immersive ecosystem in the UK, all with the ultimate aim of making the UK the best place in the world to create immersive content and applications. UKRI US IMMERSIVE MISSION 2019 The mission aims to explore the challenges and opportunities of the US immersive landscape, build connections with top US businesses and raise the profile of UK immersive expertise. The delegation includes companies and research organisations supported by over £110m UK government including the Creative Clusters and Audience of the Future programmes. Highlights of the mission, running from 6-13 March, include visits to world leading immersive businesses in San Francisco and a bespoke programme of XR showcases and networking events during technology, film and music conference SXSW in Austin, Texas. The mission is delivered by the AHRC Creative Economy Programme for UK Research & Innovation. 3736
  20. 20. FUTURE ART AND CULTURE Presented by British Underground with the support of Arts Council England, Future Art and Culture at SXSW Interactive aims to create opportunities for collaboration and business where the lines between art, innovation and technology converge. The cultural sector in England is leading the way and through this year’s Future Art and Culture programme we present provocative discussions, pitches and networking, and a diverse selection of work including VR and mixed reality experiences, live coding performances and a downtown digital installation exploring issues raised by the smart city. “England is one of the world leaders in immersive art and technology, with a thriving digital sector, internationally renowned creative industries and an incredibly rich cultural heritage. This showcase demonstrates how English arts organisations and technologists are developing ground-breaking new forms of creativity, and we’re delighted to partner with British Underground to bring it to South by Southwest.” Francis Runacres, Executive Director Enterprise and Innovation at Arts Council England 3938
  21. 21. DIGITAL CATAPULT Digital Catapult is the UK’s leading advanced digital technology innovation centre, driving early adoption of technologies to make UK businesses more competitive and productive to grow the country’s economy. We connect large established companies, startups and scaleups, and researchers working with artificial intelligence, immersive technologies, 5G and LPWAN to discover new ways to solve big challenges in the manufacturing and creative industries. CREATIVEXR CreativeXR gives creative talent the opportunity to experiment with immersive technologies to create new experiences that inspire audiences. Focused on the creative industries, particularly the arts and culture sector; the programme gives the best creative teams the opportunity to develop concepts and prototypes of immersive content (virtual, augmented and mixed reality). The programme offers access to early stage finance, facilities, industry leaders and commissioning bodies, and the opportunity to pitch for further development funding. The programme has been developed by Digital Catapult and Arts Council England, with support from Innovate UK. The mission is delivered by the AHRC Creative Economy Programme for UK Research & Innovation. AHRC CREATIVE ECONOMY PROGRAMME The Creative Economy Programme enhances and extends the Arts & Humanities Research Council’s (AHRC) reach in the creative economy, emphasising the importance of arts and humanities research in generating impact across the sector, ranging from micro-businesses to large corporations. AHRC is one of the seven research councils and Innovate UK and Research England comprise UK Research & Innovation investing over £7bn annually. ARTS COUNCIL ENGLAND Arts Council England is the national development body for arts and culture across England, working to enrich people’s lives. It supports a range of activities across the arts, museums and libraries – from theatre to visual art, reading to dance, music to literature and crafts to collections. Great art and culture inspires us, brings us together and teaches us about ourselves and the world around us. In short, it makes life better. Between 2018 and 2022, it will invest £1.45 billion of public money from government and an estimated £860 million from the National Lottery to help create these experiences for as many people as possible across the country. BRITISH UNDERGROUND British Underground produces showcases and strategic development projects in music and the arts that focus on international success. Working across the creative sector from Stormzy to The Royal Shakespeare Company, they are an Arts Council England NPO and part of the PRSF Talent Development network. Their London office is provided by the Musicians’ Union and the organisation has relationships across the cultural sector in the UK and overseas. WITH THANKS TO PARTNERS 40
  22. 22. Accelerating early adoption of advanced digital technologies

Descrição

An overview of pitch and demos presented at the UK Immersive Pitch and Demo event at SXSW 2019 in Austin, Texas. Delegates experienced demos and watched lightning pitches from the best and the brightest UK content creators, with representatives from the UK’s commercial, cultural and academic organisations.

Transcrição

  1. 1. UK Immersive Pitch & Demo March 2019
  2. 2. Immersive technologies are transforming the way we consume creative content. There are currently over 1,000 immersive companies in the UK. Many immersive companies in the UK are creating ground-breaking virtual, augmented and mixed reality (VR, AR and MR) content. With over 1,000 immersive companies in the UK this should come as no surprise, as the UK’s creative industries form the fastest growing part of the UK economy, generating £101.5 billion in gross value added (GVA) and world-leading cutting-edge creative tech, exporting more than £40 billion in goods and services, while simultaneously creating jobs at double the rate of the UK’s average job growth. 01
  3. 3. Today you will hear and experience demos from the best and the brightest of these content creators, with representatives from the UK’s commercial, cultural and academic organisations. These organisations are propelling their innovations onto the global stage. Many are looking for collaborators, commissioners and investors to take their content to the next level. With thanks to British Underground, Digital Catapult and UKRI for selecting these organisations to showcase ground-breaking projects today. ORGANISATIONS SHOWCASE TYPE PAGE 59 Productions Pitch 4 Bournemouth University Demo 6 CreativeXR Pitch 8 ESL UK Pitch 10 Factory42 Pitch 12 FutureEverything Pitch 14 Glasgow School of Art Demo 16 Italic Pig Pitch 18 King’s Digital Lab Pitch & Demo 20 Maze Theory Pitch & Demo 22 Raskl Studio + Workshop Pitch 24 Royal Shakespeare Company Pitch 26 StoryFutures Pitch 28 University of Brighton Demo 30 University of Edinburgh Demo 32 UK IMMERSIVE PITCH & DEMO DAY ORGANISATIONS 03
  4. 4. 59 Productions London, UK www.59productions.co.uk @59productions LEAD CONTACT Lysander Ashton Director lysander@fiftynineproductions.co.uk TEAM PROFILE 59 Productions has a background in theatrical design, incorporating animation, interactivity and projection design into physical performance environments, galleries and exhibition spaces. It is particularly interested in how XR can be integrated into theatrical performance, as well as how traditional forms of stage- craft can be augmented with digital technology. The intersection between projection mapping and augmented reality is something which the team are particularly focused on exploring. OVERVIEW OF PROJECT The pitch presentation will give an overview of 59 Productions experimentation into the combination of set design, projection mapping and mixed reality (MR), which has a specific application to a project the team are developing. More wide reaching, this pitch will identify the commercial potential for the use of MR in a variety of arts and commercial contexts. COMPANY’S ASK 59 Productions is keen to expand its network of industry contacts and share the team’s experimental practices with commercial, technological and artistic partners. 59 Productions would also be interested in meeting potential investors, commissioners, leaders of cultural or commercial institutions as well as decision makers from other arts sectors, who may see an application for the company’s experiments in their own field. It is also interested in meeting with experts with a particular interest in arts/science crossover projects. 59 PRODUCTIONS PITCH Combining art and technology to tell amazing stories. 59 Productions is an award winning team of creative people making imaginative work for audiences of all kinds. The company’s designers, writers, directors, architects, animators, visual artists and technologists work together to produce artistic work in a range of disciplines. From architectural projection mapping to exhibition design; VR experiences to events; theatrical design to technical consultancy, 59’s team combines art and technology to tell amazing stories. fifty nine productions 0504
  5. 5. DEMO Bournemouth University Bournemouth, UK research.bournemouth.ac.uk/project/ virtual-avebury-an-immersive-partnership @Bournemouthuni LEAD CONTACT Professor Kate Welham Professor of Archaeological Science kwelham@bmth.ac.uk TEAM PROFILE For the Virtual Avebury project, the team worked to create and then evaluate a virtual simulation of the Avebury Stone Circle and Henge complex (part of the UNESCO Stonehenge, Avebury and Associated Sites World Heritage Site) approximately 4,300 years ago. OVERVIEW OF PROJECT Ancient monuments are remains of a distant past that can now appear out of context, ruined, or discernible only as subtle marks in the landscape. Some are hidden completely beneath later buildings or the reworking of the land. Virtual simulations have the potential to illuminate what is now imperceptible and to put back into context what is now isolated and incongruous. They can give us a means of connecting with people and cultures from which we are separated by thousands of years. Virtual Avebury brings together researchers and practitioners in archaeology, heritage management, virtual reality, soundscapes and education. BOURNEMOUTH UNIVERSITY A virtual world simulation experienced as a visual and auditory landscape on mobile devices, or as a fully immersive visual and auditory experience using 3D headsets and haptic (touch) devices. Bournemouth University has over 19,000 students and is ranked as one of the top 200 young universities in the world. The university is at the forefront of computer graphics and animation education and research, and home to the National Centre for Computer Animation. The university is ambitious in developing the application of animation, simulation and visualisation across a wide range of disciplines including culture and heritage. Bournemouth University benefits from a wonderful location, situated between one of the UK’s newest national parks and the second largest natural harbour in the world. 0706
  6. 6. Digital Catapult and Arts Council England London, UK www.digicatapult.org.uk/projects/ creative-xr @DigiCatapult LEAD CONTACT Rebecca Gregory-Clarke Head of Technology (Immersive) – Digital Catapult rebecca.gregory-clarke@digicatapult .org.uk TEAM PROFILE Arts Council England and Digital Catapult are working with organisations and academia to inspire new products, services and business models and increase the early adoption of digital technology. OVERVIEW OF PROJECT CreativeXR gives teams the platform to focus on R&D and develop riskier, content driven projects that contribute to developing new skills, tools, and business opportunities. This will make it easier for the UK’s creative talent to experiment with immersive technology and develop experiences that range from, for instance, taking a historic walk through the streets of London, through to becoming an integral part of solving a murder mystery. COMPANY’S ASK CreativeXR runs a marketplace event to connect content creators with potential commissioners, financiers, exhibitors, and distributors who might partner with them on the next phase. We are looking for those working in this area who may wish to become involved as a mentor of the programme or an attendee of this marketplace, and in doing so meet and support some of the brightest creative talent in the UK. CREATIVEXR PITCH CreativeXR provides creative talent the opportunity to experiment with immersive technologies to develop new experiences that inspire audiences. Now in its second year, CreativeXR is a content acceleration programme developed by Digital Catapult and Arts Council England. It boosts around 20 immersive content creators by providing early stage seed funding, mentorship and workshops to build prototypes and explore new ways of storytelling enabled by virtual, augmented and mixed reality technology. Companies also have the opportunity to pitch for further funding through an industry marketplace. 0908
  7. 7. ESL UK London, UK weavr.tv @ESLUK LEAD CONTACT James Dean Managing Director j.dean@eslgaming.com TEAM PROFILE James Dean is the founder and Managing Director of the ESL UK subsidiary, building the ESL brand and community on a regional level. James began his career in IT writing for UK’s largest computer magazine while studying for a degree in computer science at Birmingham University. After graduating James managed the PC division of a well known computer retailer in the UK and in 2004 launched a gaming brand of PCs increasing average margins from 6% to 20%. In 2006, James founded a sales, marketing and PR company specialising in services for the IT and gaming industry, representing brands without existing operations in the UK. Within three years, the agency was generating over £5m annual revenues for various niche gaming brands including SteelSeries, the well- known esports peripheral brand. This shaped the foundation of the ESL UK franchise after the introduction to ESL Germany in 2012, which was eventually purchased by ESL’s global group in 2016. ESL is the world’s largest esports company with 15 offices spanning the globe. The UK office has maintained over 50% year-on-year growth since its foundation. It operates the UK’s longest running national esports tournament, the ESL Premiership currently spanning four gaming titles. To this date, ESL still holds records for the largest ever online audience for a UK esports tournament. OVERVIEW OF PROJECT The Weavr Consortium has answered UK Research and Innovation’s call to look at Audience of the Future, with a ground-breaking demonstrator project exploring a cross-reality, data driven, highly personalised viewing experience for esports. The consortium consisting of ESL, York University, dock10, Cybula, Focal Point VR & Rewind will operate a £5.8m project over two years, £4m of which is funded by UK Research and Innovation. ESL UK PITCH WEAVR: re-imagining sports broadcast. Esports are set to redefine entertainment and sports broadcasting after the UK government awards £4m of funding to create new AI powered, immersive audience experiences. Weavr will create cross-reality viewing experiences allowing fans to immerse themselves in high fidelity statistics, visualisations and data-driven stories that give them deep insights into the live match. This will enable them to seamlessly move between virtual and physical viewing, as well as utilise second screens to watch immersive esports content on the go. The use of artificial intelligence and data learning to create highly personalised viewing experiences will allow for fully interactive and individualised insights for the audience. This will permit the project to demonstrate knowledge of how audiences of the future engage in immersive experiences and the pathways to future commercialisation. 1110
  8. 8. Factory 42 Ltd London, UK www.factory42.uk @factoryforty2 LEAD CONTACT John Cassy Founder and CEO john@factory42.uk TEAM PROFILE The team at Factory 42 Ltd are a group of producers, designers, writers, directors, engineers, artists, software developers, architects, academics and neuroscientists creating compelling, immersive stories and experiences. John Cassy oversees the strategic and creative direction of the company as well as Executive Producing major projects. John spent more than a decade in senior roles at Sky launching and running new channels and technology, while commissioning across genres from sports to factual to music to arts. He is a board Governor of the International Advanced Imaging Society in LA, as well as a Trustee of the Almeida Theatre, London’s 2018 Theatre of the Year. He is an Honorary Professor of Humanities at University of Exeter. OVERVIEW OF PROJECT Get the low down on Europe’s most ambitious location based mixed reality experiences. John Cassy, CEO of the award winning London based immersive content studio Factory 42 and overall producer of the experiences explains how Magic Leap, Comcast’s Sky and award winning London theatre, The Almeida, are combining to create two ground breaking, narrative driven, group experiences at London’s iconic Natural History Museum and Science Museums. COMPANY’S ASK Factory 42 Ltd is looking to gain partnership, distribution and localisation opportunities. FACTORY 42 PITCH Factory 42 is a fast growing next generation production studio creating world class content and experiences at the intersection of film and games. Recent projects from Factory42 include a ground-breaking Sir David Attenborough interactive virtual reality (VR) project Hold The World at the Natural History Museum, and a high profile documentary, multiple VR experiences and a major exhibition at the Royal Academy of Arts. Upcoming work includes Dinosaurs and Robots, two adventure game based mixed reality experiences at two of London’s best known museums. 1312
  9. 9. FutureEverything Manchester, UK www.futureverything.org @futureverything LEAD CONTACT Irini Papadimitriou Creative Director irini@futureeverything.org TEAM PROFILE Working alongside commissioned Artist Naho Matsuda, at SXSW the team includes art curators, producers and industrial designers. OVERVIEW OF PROJECT Data surrounds us, nowhere more so than in our cities. What kind of stories can urban data tell about a city? Harnessing public art to explore the ‘Smart City’, Naho Matsuda’s EVERY THING EVERY TIME broadcasts poetry on mechanical display, urging deeper reflection on the role of data in our lives. COMPANY’S ASK By participating in this event FutureEverything aims to develop partnerships with cultural organisations and city leaders to tour the work, and subsequently attract support from philanthropy and private enterprise to enable it to continue developing EVERY THING EVERY TIME with artist Naho Matsuda. FUTUREEVERYTHING PITCH Established in Manchester (UK) in 1995, FutureEverything is an award-winning innovation lab and cultural agency that has helped shape the emergence of digital culture in Europe. Taking an artist-led and human-centred approach, FutureEverything is passionate about bringing people together to discover, share and experience new ideas for the future, creating opportunities for people to consider, challenge and test the use of technology in creative and unexpected ways. 1514
  10. 10. DEMO The Glasgow School of Art Glasgow, UK www.gsa.ac.uk @GSofA LEAD CONTACT Professor Steve Love Senior Researcher s.love@gsa.ac.uk TEAM PROFILE Professor Steve Love’s primary research expertise is investigating the impact of digital applications and services on people’s behaviour and lives. His research has been sponsored by funders such as the AHRC, ESRC, EPSRC, InnovateUK, Scottish Funding Council, European Space Agency, the European Social Fund, BT and Sharp Laboratories Europe. He is a Fellow of the Design Research Society. OVERVIEW OF PROJECT Working with industrial collaborators ISOdesign, the team at The School of Simulation and Visualisation at The Glasgow School of Art created a range of virtual and augmented reality outputs looking at the historic sculpture within the environment of the GSA. The team adopted a user-centred design and rapid application development (RAD) approach to develop a five minute, linear virtual reality experience where users are taken through a series of virtual spaces. By using object and environmental scans and digital materials from the GSA archive, users can experience a rich, emotionally engaging recreation of a key plaster cast sculpture, the Laocoon. They learn about the extraordinary story of the sculpture’s mythology and history. They learn of the damage it suffered during the 2014 fire at the School of Art, its restoration and then of the Laocoon’s ultimate destruction in the 2018 fire. GLASGOW SCHOOL OF ART The studio provides specialist, practice-led learning and research and draws talented individuals with a shared passion for visual culture and creative production from all over the world. The Glasgow School of Art (GSA) is one of Europe’s leading independent university-level institutions for the visual creative disciplines. As one of the UK’s largest and most intensive research communities for the visual creative disciplines, GSA’s research activity (80% of staff are research active) is clustered into the following interdisciplinary themes: architecture, urbanism and the public sphere; contemporary art and curating; design innovation; digital visualisation; education in art, design and architecture; health and wellbeing; material culture; sustainability. 1716
  11. 11. Italic Pig Holywood, Northern Ireland www.italicpig.com @italicpig LEAD CONTACT Kevin Beimers Director kevin@italicpig.com TEAM PROFILE From the sheer variety of projects Italic Pig work on, the quirkiness of the team, to the benefits that the company offers, Italic Pig prides itself as standing out from the crowd. You won’t find 100-hour work weeks here, but you will find a team of passionate game developers and artists that are given the chance to fully thrive in our studio. Italic Pig is based outside of Belfast (Northern Ireland, UK) in the seaside town of Holywood. The team’s workspace is a rambling three story townhouse that is having its own unique stamp put on with graffiti art, cafe space and a custom Schrodinger’s Cat arcade machine. Luckily for the team, there’s room to grow and expand as a company. The entire team is active in the UK game and animation industries with Kevin Beimers being a regular speaker at events throughout the world. OVERVIEW OF PROJECT The Infinite Hotel is an immersive VR narrative adventure game. An inter- dimensional holiday resort constructed from impossible architecture, packed with the strangest collection of beasts in the universe. It boasts the ability to cater to everything and everyone, thanks to the fact that it has an infinite number of floors, an infinite number of rooms, and an infinite star approval rating. You’re the elevator operator. You’ve got work to do. The team will be demoing The Infinite Hotel at two Northern Irish events: Immersed in NI, and the Belfast City Council Boat Networking Trip. COMPANY’S ASK Italic Pig is looking for project investment in the form of finishing funds and marketing/promotional support to turn the demo into a full game. ITALIC PIG PITCH A grand-scale adventure in a room-scale space. The Infinite Hotel is an unpredictable, character-driven, vertical virtual reality (VR) adventure, combining the addictive task fulfilment mechanics of award- winning games like Job Simulator, the inadvertent (and persistent) character repercussions of Papers Please, the multi-threaded narrative hooks of Grim Fandango, and a sense of boundless scale... all from inside a five foot square. 1918
  12. 12. PITCH & DEMO King’s Digital Lab, King’s College London London, UK www.kdl.kcl.ac.uk @kingsdigitallab LEAD CONTACT Elliott Hall Senior Research Software Engineer elliott.hall@kcl.ac.uk TEAM PROFILE Elliott Hall, Senior Software Engineer at King’s Digital Lab, is a developer, writer, and theatre practitioner. He created the immersive augmented reality experience The Digital Ghost Hunt and is also the author of the Strange Trilogy published by John Murray, as well as works in film and theatre. OVERVIEW OF PROJECT Digital Ghost Hunt begins when a normal school assembly is interrupted by Deputy Undersecretary Quill from the Ministry of Real Paranormal Hygiene, there to recruit the school’s Year Five (age 10-11) class into the Department’s Ghost Removal Section. The young ghost hunters learn how to program their own paranormal detectors – made from two microcomputers, a Raspberry Pi and a Micro:bit. The students then use the detectors in an immersive show to discover ghostly traces, translate Morse code using flickering lights and find messages left in ultraviolet ectoplasm. Together, the pupils uncover who the ghost is and why she is haunting the building, unmask a villain, find a stolen necklace, clear the ghost’s name, right an old wrong, and set her free. COMPANY’S ASK The team at King’s Digital Lab will be pitching and demoing at the showcase event with the goal of opening up new partnership and distribution opportunities. KING’S DIGITAL LAB Digital Ghost Hunt combines coding education, augmented reality and live performance into an immersive storytelling experience. King’s Digital Lab believes the project has potential both as an educational tool to get students, particularly girls, interested in coding as a tool of imagination, and building experiences that tell great stories using unique places such as museums and historical sites. The team is interested in exploring these ideas with new partners and collaborators as the project enters a new phase of development. 2120
  13. 13. PITCH & DEMO Maze Theory Nottingham, UK www.maze-theory.com @ianhambleton LEAD CONTACT Ian Hambleton CEO ian@maze-theory.com TEAM PROFILE Digital Entertainment studio Maze Theory works at the boundaries of virtual imagination. In 2019 the studios R&D programme will bring artificial intelligence characters into all of its games. Through narrative characters that respond to gestures, voice and body language, we’ll create personal interactions that feel more human, creating new levels of immersion, unique to VR. OVERVIEW OF PROJECT An early test demo, focusing on one of the early David Tennant Doctor Who episodes and fans’ favourite “Blink”. The tenth episode of the third series of the British science fiction television series Doctor Who, “Blink” was first broadcast on 9 June 2007 on BBC One. It received widespread critical acclaim, and is widely considered to be one of the best episodes of the show. Writer Steven Moffat won the BAFTA Craft and BAFTA Cymru awards for Best Writer, and the Hugo Award for Best Dramatic Presentation, Short Form. In 2009 the episode was voted the second best Doctor Who story ever by readers of Doctor Who Magazine. MAZE THEORY Creating new depths and levels of immersion through artificial intelligence. A restless team of digital creatives on a mission to conquer the world of virtual reality. Maze Theory believes in pushing and redrawing the boundaries of the imagination and bringing to life virtual entertainment experiences that will engage and blow the senses. Drawing on the team’s vast experience in animation, games development, film production and storytelling to produce the best in virtual reality (VR), the team work tirelessly seeking out new ideas that will push the very latest in VR capabilities. But ground-breaking tech is not the end goal – the focus is on redrawing the lines of storytelling and creating truly awesome immersive adventures. 2322
  14. 14. Raskl Newcastle, UK www.raskl.co.uk @RasklDesign LEAD CONTACT Dan Rose Designer and Director dan@raskl.co.uk TEAM PROFILE David Angus and Dan Rose have been collaborating on projects for over 15 years, David from an engineering background and Dan from music and arts. The team’s journey has taken them from tinkering in a garage, incorporating in 2005 and growing to a workforce of eight in a comprehensively equipped CNC workshop. While offering a serious industrial service the company is proud of its friendly and approachable way of doing business; ever expanding its network of friends, clients and collaborators. OVERVIEW OF PROJECT Two projects at either end of the scale that Raskl produce: A 9m tall Camera Obscura in abstract low-poly parrot form [www.raskl.co.uk/Polly] and the piece being exhibited at SXSW - a split-flap display which interacts with Smart-City Data. COMPANY’S ASK Raskl is pitching during the showcase with the aim of developing business and opportunities to collaborate globally. Raskl believes it has a unique skill set: bringing design, engineering, hi-tech, low-tech, architecture, local authority negotiation, main contractor liaison etc. together all under one roof. Raskl is frequently invited as preferred contractors in the UK and would like to expand on this. RASKL STUDIO + WORKSHOP PITCH Creative thinking for art and architecture – design, tech and fabrication. Having initially worked on furniture and architectural design solutions, Raskl now focuses almost exclusively on art production projects. This is where the team’s passion truly lies and is a field which arguably makes the best use of their extremely diverse experience and skills. The real value the team brings to a project is in bridging the gap between artists, architects, engineers and planners. By developing concepts from the ground up, and by keeping all of the fabrication in house, Raskl is able to advise reliably on feasibility and costs, without losing the spirit of a project or engineering the fun out of it. 2524
  15. 15. Royal Shakespeare Company Stratford-upon-Avon, UK www.rsc.org.uk @TheRSC LEAD CONTACT Sarah Ellis Director of Digital Development sarah.ellis@rsc.org.uk TEAM PROFILE Everyone at the Royal Shakespeare Company plays a part in creating work and sharing it with audiences. The company employs a huge range of people, including directors, writers, actors as well as other creative, technical and administrative staff. OVERVIEW OF PROJECT Seven Ages of Man by William Shakespeare is a collaboration between the Royal Shakespeare Company and Magic Leap. You can see the experience at the British Music Embassy on Sunday 10 March. Collaborations to date with Intel and Magic Leap have lead to a large-scale collaboration for live performance as part of the Audience of the Future demonstrator project. Royal Shakespeare Company is looking for partners to join it and create a performance in 2020. COMPANY’S ASK The team is looking for partners to join collaborations and create a performance in 2020: funders, collaborators, investment, connections. ROYAL SHAKESPEARE COMPANY PITCH The Royal Shakespeare Company and Magic Leap create a mixed reality experience using cutting-edge volumetric capture with Shakespearean actor Robert Gilbert and an original musical score by award-winning composer Jessica Curry performing the famous Seven Ages speech from As You Like It. The Royal Shakespeare Company explores the future of theatre with Magic Leap in this sublime production of the Seven Ages of Man speech from Shakespeare’s As You Like It. Here the company presents a mixed reality experience using cutting-edge volumetric capture with Shakespearean actor Robert Gilbert and an original musical score by award-winning composer Jessica Curry. The line “all the world’s a stage” turns literal as users experience the play in multiple and simultaneous places. 2726
  16. 16. StoryFutures Academy (Royal Holloway University of London) London, UK www.storyfutures.com/academy @StoryFutures LEAD CONTACT Amanda Murphy Executive Producer amanda.murphy@rhul.ac.uk TEAM PROFILE Amanda Murphy is an established Executive Producer with a track record in producing large scale television productions for multiple markets, and in establishing first series and formats such as the UK’s first Big Brother and Supernanny which sold to 47 countries. She has worked in academic research for the last five years, most recently as producer of the Adapt TV hands on history project, creating a new film archive of veterans reunited with kit they used to work with, reusing it. She is presently EP of StoryFutures Academy and also a Senior Teaching Fellow in Media Arts at RHUL. OVERVIEW OF PROJECT Exploring the range of opportunities to collaborate with the UK’s new National Centre for Immersive Storytelling. StoryFutures Academy is an unique partnership between the UK’s leading screen industries’ training provider, the National Film and Television School, and one of the UK’s leading research institutions, the Royal Holloway University of London. The team is bringing together some of the world’s leading screen industry talent, with cutting edge training and research to exploit this new medium. COMPANY’S ASK Collaborators to pioneer immersive experiences across the creative industries and develop cutting-edge creative training and research programmes in immersive storytelling. STORYFUTURES ACADEMY PITCH Promoting innovation in story form with proven talent. There are a wealth of opportunities from sharing expertise, showcasing new work, co-curating labs to collaborating on new exciting cutting edge immersive productions. 2928
  17. 17. DEMO University of Brighton Brighton, UK www.brighton.ac.uk LEAD CONTACT Donna Close Senior Research Fellow/Creative Producer d.close2@brighton.ac.uk TEAM PROFILE Donna Close is a creative producer, cultural strategist and research fellow specialising in projects, partnerships and research that investigates the role that creativity and cultural production processes have in cultural, social and economic impact and in amplifying value. Over 25 years, she has developed award winning festivals built around new commissions and new ways of working focused on immersive and inclusive audience experiences. OVERVIEW OF PROJECT The project asks what could happen if specialists in haptic, interactive, and immersive technologies came together with circus artists, artists who are used to taking creative and physical risks. What innovations in creative content, and what new types of audience experiences might be possible if collaboration and experimentation were enabled? Diversity and inclusivity also occupied a central role. The project considered how to improve access to these art forms. By providing new pathways to access circus and street theatre, they can be opened up for those who may conventionally struggle to participate. XR: CIRCUS / EXTRAORDINARY CIRCUS XR Circus is centred on a creative collision between leading immersive technologists and circus artists in order to imagine a circus befitting of the 21st century. The University of Brighton is a practice based research and education organisation based in Brighton: one of the UK’s most important creative clusters. The University of Brighton believes in ‘Practical Wisdom’ creating knowledge through practice – academic, professional and creative – and through partnerships with industry, government and communities. The School of Media leads on international research into how innovation can be driven through creativity and inclusivity. Research and enterprise under ‘Connected Futures’ explores how digital technologies can enable the creation and distribution of content for social, cultural and business purposes. 3130
  18. 18. DEMO University of Edinburgh Edinburgh, UK www.eca.ed.ac.uk/research/space-place- sound-and-memory LEAD CONTACT Dr James Cook Lecturer in Early Music, Programme Director, BMus jcook2@ed.ac.uk TEAM PROFILE Dr James Cook is lecturer in Early Music at the University of Edinburgh. He works in the apparently disparate fields of medieval and Renaissance music and music for TV, Film, and Video Game. These interests are brought together in his AHRC-funded project to recreate, in virtual reality, lost performances and performance spaces. OVERVIEW OF PROJECT The team brought together staff at the University of Edinburgh working with Dr James Cook, and at the University of Abertay under Dr Kenny McAlpine. Working closely with game developers, musicologists, architectural historians, early music performers, the museum sector, and acousticians, the team set out to recreate the sounds and sensations of early music performance in virtual reality. The project is hosted by the Reid School of Music at the University of Edinburgh. The University of Edinburgh is currently ranked 18th in the world, and the department of music is widely known for its research in both musicology and acoustics. SPACE, PLACE, SOUND AND MEMORY: IMMERSIVE EXPERIENCES OF THE PAST Imagine experiencing a musical moment from the past: a rich, sensory experience that combines the flickering light from candles, the exquisite performance of centuries- old music, and the warm acoustics and magnificent decoration of a performance space that now no longer exists. The Space, Place, Sound and Memory project brings together cross- disciplinary expertise from a range of academic, industry, and cultural partners to explore the point where performance practice, gaming and virtual reality, technology, and culture and heritage meet. It uses 3D imaging, binaural, and surround sound and room-impulse responses to create a software application that allows users to experience the performance of Early Music in an accurately-modelled historic space. 3332
  19. 19. DISCOVER THE POTENTIAL OF IMMERSIVE TECHNOLOGIES Digital Catapult offers a game-changing portfolio of programmes and facilities to bring together immersive technologies’ growing ecosystem. Digital Catapult offers facilities such as Dimension and the Immersive Labs and runs innovation programmes including Augmentor and CreativeXR. This provides unrivalled access to the latest developments in virtual and augmented reality and supports the development of a strong immersive ecosystem in the UK, all with the ultimate aim of making the UK the best place in the world to create immersive content and applications. UKRI US IMMERSIVE MISSION 2019 The mission aims to explore the challenges and opportunities of the US immersive landscape, build connections with top US businesses and raise the profile of UK immersive expertise. The delegation includes companies and research organisations supported by over £110m UK government including the Creative Clusters and Audience of the Future programmes. Highlights of the mission, running from 6-13 March, include visits to world leading immersive businesses in San Francisco and a bespoke programme of XR showcases and networking events during technology, film and music conference SXSW in Austin, Texas. The mission is delivered by the AHRC Creative Economy Programme for UK Research & Innovation. 3736
  20. 20. FUTURE ART AND CULTURE Presented by British Underground with the support of Arts Council England, Future Art and Culture at SXSW Interactive aims to create opportunities for collaboration and business where the lines between art, innovation and technology converge. The cultural sector in England is leading the way and through this year’s Future Art and Culture programme we present provocative discussions, pitches and networking, and a diverse selection of work including VR and mixed reality experiences, live coding performances and a downtown digital installation exploring issues raised by the smart city. “England is one of the world leaders in immersive art and technology, with a thriving digital sector, internationally renowned creative industries and an incredibly rich cultural heritage. This showcase demonstrates how English arts organisations and technologists are developing ground-breaking new forms of creativity, and we’re delighted to partner with British Underground to bring it to South by Southwest.” Francis Runacres, Executive Director Enterprise and Innovation at Arts Council England 3938
  21. 21. DIGITAL CATAPULT Digital Catapult is the UK’s leading advanced digital technology innovation centre, driving early adoption of technologies to make UK businesses more competitive and productive to grow the country’s economy. We connect large established companies, startups and scaleups, and researchers working with artificial intelligence, immersive technologies, 5G and LPWAN to discover new ways to solve big challenges in the manufacturing and creative industries. CREATIVEXR CreativeXR gives creative talent the opportunity to experiment with immersive technologies to create new experiences that inspire audiences. Focused on the creative industries, particularly the arts and culture sector; the programme gives the best creative teams the opportunity to develop concepts and prototypes of immersive content (virtual, augmented and mixed reality). The programme offers access to early stage finance, facilities, industry leaders and commissioning bodies, and the opportunity to pitch for further development funding. The programme has been developed by Digital Catapult and Arts Council England, with support from Innovate UK. The mission is delivered by the AHRC Creative Economy Programme for UK Research & Innovation. AHRC CREATIVE ECONOMY PROGRAMME The Creative Economy Programme enhances and extends the Arts & Humanities Research Council’s (AHRC) reach in the creative economy, emphasising the importance of arts and humanities research in generating impact across the sector, ranging from micro-businesses to large corporations. AHRC is one of the seven research councils and Innovate UK and Research England comprise UK Research & Innovation investing over £7bn annually. ARTS COUNCIL ENGLAND Arts Council England is the national development body for arts and culture across England, working to enrich people’s lives. It supports a range of activities across the arts, museums and libraries – from theatre to visual art, reading to dance, music to literature and crafts to collections. Great art and culture inspires us, brings us together and teaches us about ourselves and the world around us. In short, it makes life better. Between 2018 and 2022, it will invest £1.45 billion of public money from government and an estimated £860 million from the National Lottery to help create these experiences for as many people as possible across the country. BRITISH UNDERGROUND British Underground produces showcases and strategic development projects in music and the arts that focus on international success. Working across the creative sector from Stormzy to The Royal Shakespeare Company, they are an Arts Council England NPO and part of the PRSF Talent Development network. Their London office is provided by the Musicians’ Union and the organisation has relationships across the cultural sector in the UK and overseas. WITH THANKS TO PARTNERS 40
  22. 22. Accelerating early adoption of advanced digital technologies

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