ar vr

What is AR/VR animation ?

Virtual reality animation

This is a misnomer, actually. All virtual reality animation is computer-generated – so, technically, any of these styles could be labeled as “CGI”.

However, this particular visual style looks the way we’ve come to expect from 3D animated films and video games.

CGI virtual reality animation can be rendered in an extremely realistic way… or it can look nothing like real life! And that’s the point: to create immersive three-dimensional worlds where users can play, learn, make art, or just be – in a way that feels real, but doesn’t resemble their usual environment at all.

Example: Playthings, a musical experience that relies heavily on CGI virtual reality animation. If you’ve ever wanted to bash some jelly bears with drumsticks to make music, while giant colorful hot dogs float in the sky… this one is for you!

Creating a computer-generated experience for potential customers can be costly and time-consuming – so it’s important that you do it for things that can’t, or shouldn’t, be represented with “regular” VR.

For example, when you need to demonstrate the science behind some cutting-edge nanotechnology (just spitballing here), creating an interactive 3D world is entirely appropriate. But if you want to show off your manufacturing process, recording a 360-degree video of your facilities would work far better – and be much cheaper!

Stylized virtual reality animation

VR offers virtually unlimited (pun intended) opportunities to create interactive 3D spaces in any visual style. If you’ve ever wanted to inhabit an oil painting, a drawing, or a comic, you can do that!

Stylized VR animation has a lot of uses – and not just for art. If you want to engage and mesmerize people and make them consider your message seriously, then one way to achieve that would be to make it look as unusual as possible.

Example: To see how this type of virtual reality animation looks in “real life”, check out these VR paintings by Carlos Felipe León. Another example of stylized VR animation is “Dear Angelica” – an animated virtual reality experience. Both are made with Quill – an artistic tool for painting in VR similar to Google Tilt brush.

If you want to market your brand in a low-key way that relies on engagement and is targeted at a highly sophisticated market, this type of VR animation will be a great fit.

Mixing virtual reality animation with live action

This is perhaps the easiest, most valuable way to use virtual reality animation. If your brand image relies on live-action visuals more than animated or cartoony imagery, you can have the best of both worlds – just combine the two!

This mixed style of VR solves an important problem that marketers, storytellers, game designers, and artists who work in the medium are facing. Said problem is: when your audience is in control of the experience, how do you make sure they interact with it the way you intended and get a positive impression?

That’s where virtual reality animation comes in. By injecting animated cues at certain points in the experience, you can direct the audience’s attention to certain things – and maintain a cohesive narrative within an otherwise open and interactive experience. Problem solved!

Example: This VR interview by Michelle Obama illustrates the technique nicely. Animation makes this simple 360-degree video come alive, holding the viewer’s attention throughout – even if they aren’t looking at the First Lady and exploring the surroundings instead.

Mixing VR animation and live-action footage is one of the most accessible ways to promote your business – and the most forgiving! Even something as simple as recording your public speech with a 360-degree camera and overlaying some animated cues in post-production can result in a piece of engaging, on-brand content.

Whiteboard virtual reality animation

Technically, whiteboard and cartoon animation videos are more similar to timelapses than “real” animation. They represent recordings of the drawing process done by an artist – and the visuals themselves are static.

Because of that, rendering whiteboard videos in a virtual reality environment adds another layer of engagement and immersion, and makes the animation more interactive and engaging. If you want to use whiteboard and cartoon animation to advertise something you sell, making them VR-compatible is an excellent way to boost their effectiveness!

We would love to create a high-converting whiteboard virtual reality video for you.

If you want to learn more about virtual reality animation marketing and how it fits into your business goals, we would love to show you what kind of magic we can work for you in VR!

AR Animations

In augmented reality (AR) apps, interactive animations guide viewers through experiences–transitioning them from scene to scene while adding polished timings and nuances to the AR experience.

We’ll show you how to use interaction triggers and responses to move and scale 3D objects, how to link scenes for seamless transitions, and how to build complex interactions from simple components and patterns. Additionally, you’ll understand how a scene change in the background can deliver the viewer into a fresh scene with new interactive elements.

We’ll be using our embedded AR Hotel Reservations app as an example. In this app, users link from a screen-based hotel reservation system to an AR experience that goes beyond pictures. They’ll visualize prospective hotels in space and see physical models of available rooms. They’ll even dive into a world-scale version of each room before making a choice.

vr classroom

Virtual Reality in the Classroom

What Is Virtual Reality?

Virtual reality has the potential to be a powerful new tool in the classroom. The purpose of this article is to consider the concept of virtual reality; list present and developing applications; look at reasons to use virtual reality in the classroom; identify some possible classroom applications; and, finally, examine briefly one already available virtual reality software package.

Virtual reality has been defined as a highly interactive, computer-based, multimedia environment in which the user becomes a participant with the computer in a “virtually real” world. Joseph Henderson says environments like these equal high-fidelity simulations produced using interactive media or specialized systems such as aircraft simulators (Henderson, 1991). In a virtual environment, the user no longer looks at a computer screen but becomes part of the action on the screen, giving the sensation of participation.

Helsel contrasts this with “artificial reality,” using Michael Spring’s definition: “an interactive environment that encompasses unencumbered, full-body multisensory participation in computer events” (Helsel, 1991, 1992). First used in 1974 by Myron Krueger, the term describes particular environments like Krueger’s own VIDEO PLACE, an artificial reality exhibit. Mechanical attachments from users to computers are not necessary to participate in the event.

“Cyberspace,” Helsel interprets Spring (1991) as saying, is “. .a place where the human nervous system and mechanical-electronic communications and computation systems are linked” (Helsel, 1992). Some type of brain-computer attachment is probably required. William Gibson created and first used the term “cyberspace” in his 1984 novel, Neuromancer.

For this article, the term “virtual reality” covers the whole field, including artificial reality, cyberspace, and a third type, telepresence, which according to Hilary McLellan (1992), is the feeling of being present at a remote location from where one is actually located, with the ability to manipulate objects at that remote location.

Full-blown virtual reality programs ordinarily use a body-tracking interface with the computer. A full interface includes head-mounted displays with dual television monitors to provide a three-dimensional visual effect, data gloves to allow both tactile sensing and movement of objects within the scene, perhaps a bodysuit, and other body-move- meant tracking devices. Other, less elaborate virtual reality programs depend only on a computer monitor, keyboard, and mouse.

The National Aeronautics and Space Administration (NASA) Ames Research Center in Mountain View, California; the Human Interface Technology Laboratory at the University of Washing- ton in Seattle; the Media Lab at the Massachusetts Institute of Technology (MIT); the University of North Carolina at Chapel Hill; AutoDesk, Inc., of Sausalito, California; VPL Research, Inc., Foster City, California; IBM’s Watson Labs in Hawthorne, New York; Virtus Corporation in Cary, North Carolina, and other research facilities and companies around the world are actively involved in developing virtual reality environments, computer programs, and body sensors, and tracing systems of various types. For example, Jaron Lanier and VPL Research, Inc., have developed the EyePhone (an eye-tracking system), DataSuit (which tracks other gestures), and DataGlove (a hand tracking device). Mattel’s PowerGlove, a mass-market derivation, is used with Nintendo games.

Autodesk, Inc., known for its computer-aided design (CAD) software, has created a graphic representation of a typical office that a user can view from various angles in a three-dimensional model, using a head-mounted display consisting of a small liquid-crystal display (LCD) screen for each eye and a position tracking sensor. At the HumanInterface Technology Laboratory, 19 companies have formed the Virtual Worlds Consortium to apply virtual reality to business (Hamilton, Smith, McWilliams, Schwartz, & Cary, 1992).

History of Virtual Reality

Virtual reality is a merging of concepts that come out of several sources, stretching over a broad period of time. Efforts to produce life-like environments go back for many years. For example, the Link Trainers, first developed in 1927-1929, attempted to duplicate the reality of an airplane cockpit. Control of an environment via a body movement sensor is often an essential element of a virtual reality program. In 1958, Philco Corporation developed a head-mounted visual system controlled by head movement (Fisher, 1990). Computer programmers have worked for years to depict realistic environments on computer screens. In the early 1960s, Ivan Sutherland and others created a head-mounted display whereby the user could look around a graphic room by turning the head. By 1969, Myron Krueger had created a number of interactive environments that allowed participation in a computer event with the full body. One of his best-known environments is VIDEO PLACE, a graphic world in which people interact with each other and with graphic characters. VIDEO PLACE is now at the Connecticut Museum of Natural History in Storrs, Connecticut.

In the early 1970s, Fred Brooks at the University of North Carolina created a system in which the user handled graphic objects with a mechanical manipulator. Toward the end of the Seventies, the Media Lab at the Massachusetts Institute of Technology developed the Aspen Movie Map, a video simulation of a drive through the ski resort of Aspen, Colorado, whereby the participant could drive at will down any street and enter and explore buildings along the route. By 1984, Michael McGreevy and colleagues at NASA had developed data goggles which allowed the user to look around a graphic world portrayed on a computer screen. Another development in the 1980s was the television series, Star Trek, the Next Generation. In this projected future, the starship Enterprise includes a “Holodeck,” used primarily for crew entertainment. This computer-generated environment is so real that “under normal conditions, a participant in a Holodeck simulation should not be able to detect differences between a real object and a simulated one” (Sternbach & Okuda, 1991, p. 158). The Holodeck uses holographic figures and allows the player to participate actively in completely simulated environments.

Also in the early 1980s, William Gibson began publishing science fiction novels, such as Neuro- manner, in which the main characters have reality- like experiences in computer-generated worlds called Cyberspace. In Gibson’s words, Cyberspace is “a consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts.

Interest in virtual reality has quickened in the Nineties. It is moving from the research facility to the world of practical applications. Now is the time to consider uses in the classroom.

Classroom Uses of Virtual Reality

Classroom uses of virtual reality seem to be almost infinite. In their seminal article, “The Implications of Education in Cyberspace,” Rory Stuart and John C. Thomas (1991) list seven roles for cyberspace in education, which apply to the use of virtual reality in the classroom:

• Explore existing places and things that students would not otherwise have access to.

• Explore real things that, without alterations of scale in size and time, could not otherwise be effectively examined.

• Create places and things with altered qualities.

• Interact with people who are in remote locations through global clubs with a common interest or collaborations on projects between students from different parts of the world.

• Interact with real people in non-realistic ways.

• Create and manipulate abstract conceptual representatives, like data structures and mathematical functions.

• Interact with virtual beings, such as representations of historical figures and agents who are representatives of different philosophies and viewpoints participating in simulated negotiations.

Stuart and Thomas (1991) contend that there are at least two types of representations in cyberspace. One uses naturalistic scenes to display objects, attributes, and relationships. The other “uses abstract scenes in which objects, attributes, and relationships are not as they appear in the real world, but are designed to highlight conceptual relationships.”

ar vr jobs (1)


AR/VR Engineer Job Description

Augmented reality (AR) alters a real-world environment by introducing computer-generated elements, such as 3D animations, video, audio, or text overlays. Virtual reality (VR) uses computer technology to create a virtual world that users can interact with. Both are emerging technologies with real-world applications in fields ranging from healthcare to the military. AR/VR engineers build these products with a skill set that may include 3D development, software design, and programming languages such as C++. Engineers working on AR and VR will often collaborate across scientific and engineering disciplines. The primary duties of an AR/VR engineer may include designing, analyzing, debugging, and developing AR and VR prototypes.

VR and AR technology is often used for video games and other entertainment, but it also has applications in fields like social science, psychology, medical training, education, fine arts, engineering, occupational health, architecture, and marketing. Whether it used for surgical training, anxiety disorder treatment, or in ad campaigns to sell products, the possibilities are wide-ranging. Companies that work in the VR/AR field either produce hardware (such as VR headsets), software that delivers VR/AR content, or the content itself. Major companies that have ventured into the field include Google, Facebook (Oculus), and Apple. With rising investment and a large number of startups pursuing virtual reality or augmented reality, this is an emerging specialization and area of growth for engineers.

What Kinds of Jobs Are in the Virtual Reality Career Path?

Starting a career in virtual reality is remarkably similar to being a software developer or software engineer. Why? Because you’ll need to become familiar with several computer programming languages as well as common syntax. You’ll also need to have a basic understanding of UX (user experience) design and the hardware your applications will run on. Depending on the platform you choose, you may be faced with unique limitations and requirements.

The older HTC Vive, for instance, is less powerful than the Oculus Rift and the HTC Vive Pro. That means any experience you craft for the former platform needs to have memory and performance limitations. This also puts a restriction on how you craft your virtual environments. If you have to create something less lifelike to achieve optimal performance, you’ll need to do it in a way that doesn’t hinder the experience or make your users sick and queasy.

That brings us full circle to the kind of work or jobs you’ll be handling in the virtual reality career field. Pretty much anything you’d see in software development as a common career path is something you’ll also see in virtual reality. This includes positions such as:

Content producer
Software engineer
AR and VR content writers
Product management
Quality assurance
UI and UX design

How to Get a Career in Virtual Reality?

The final segment of our guide will touch on actually seeking and finding employment in the virtual reality industry. How can you go about getting a job after graduation, for example? What are some things to do to stand out from the competition?

Step one is to actually reach out to existing companies and businesses and ask questions. Let them know you’re interested in working in the industry and ask if they have any advice to offer. What do they look for in a potential candidate? What would absolutely get you hired? There’s always a chance that regular correspondence with a contact could help you get your foot in the door, so it’s a great place to start.

Find and reach out to professionals in the industry and see if someone will allow you to shadow them for the day. Sometimes it’s best to reach out to the human resources department at a company instead of various individuals. The goal here is to see firsthand what it’s like working for a company on an active project. This will also allow you see the necessary skills and experience you’ll need to become a part of your average development team.

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The University signs MoU with Scopik Edu Services, Salem


The AR and VR technologies will be imparted for the first time in a university curriculum in the country as a direct effect of the Memorandum of Understanding (MoU) signed between Periyar University with a technical collaborator, Scopik Edu Services, which will provide the knowledge skill to the students.

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