Tour the ISS to catch up with the astronauts and hear their testimonials about what it feels like to watch Earth from space every day.
The National Geographic Channel has one major treat coming up for its viewers, reports Space.com.
Channel officials have disclosed the tantalizing news that they have made the first 3D Virtual Reality (VR) film ever shot in space.
You might only know JPEG as the default image compression standard, but the group behind it has now branched out into something new: JPEG XS. JPEG XS is described as a new low-energy format designed to stream live video and VR, even over WiFi and 5G networks. It’s not a replacement for JPEG and the file sizes themselves won’t be smaller; it’s just that this new format is optimized specifically for lower latency and energy efficiency. In other words, JPEG is for downloading, but JPEG XS is more for streaming.
The new standard was introduced this week by the Joint Photographic Experts Group, which says that the aim of JPEG XS is to “stream the files instead of storing them in smartphones or other devices with limited memory.” So in addition to getting faster HD content on your large displays, the group also sees JPEG XS as a valuable format for faster stereoscopic VR streaming plus videos streamed by drones and self-driving cars.
“We are compressing less in order to better preserve quality, and we are making the process faster while using less energy,” says JPEG leader Touradj Ebrahimi in a statement. According to Ebrahimi, the JPEG XS video compression will be less severe than with JPEG photos — while JPEG photos are compressed by a factor of 10, JPEG XS is compressed by a factor of 6. The group promises a “visual lossless” quality to the images of JPEG XS.
Four virtual reality (VR) veterans from Discovery Digital, Oculus Story Studio and Lightshed officially launched their new company out of stealth mode in San Francisco this week. Dubbed Tomorrow Never Knows, the new studio aims to use virtual and augmented reality as well as other emerging technologies including artificial intelligence for groundbreaking storytelling projects, said co-founder and CEO Nathan Brown in an interview with Variety this week.
“The thesis behind the company is to consistently violate the limits of storytelling, forcing the creation of new tools, methodologies and workflow and to do this intentionally so we create original creative and technology IP,” he said.
Before founding Tomorrow Never Knows, Brown co-founded Discovery VR, which has become one of the most ambitious network-backed VR outlets. Also hailing from Discovery VR is Tomorrow Never Knows co-founder Tom Lofthouse. They are joined by Gabo Arora, whose previous work as the founder of Lightshed included VR documentaries like “Clouds Over Sidra” and “Waves of Grace,” as well as Oculus Story Studio co-founder Sachka Unseld, the director of the Emmy Award-winning VR animation short “Henry” and the Emmy-nominated VR film “Dear Angelica.”
The tech-industry is led by sci-fi nerds who want to create the things they read about, or saw on screen.
We all stand to benefit, provided that is, they can avoid the ethical pitfalls depicted in science fiction.
Steven Spielberg’s new film “Ready Player One” imagines a future where people live much of their lives in virtual reality. Do science fiction’s predictions of the future ever come true? Yes. And it’s no surprise, given that the tech industry is led by sci-fi fans turning their visions into reality.
DARPA’s OFFensive Swarm-Enabled Tactics (OFFSET) program envisions future small-unit infantry forces using small unmanned aircraft systems (UASs) and/or small unmanned ground systems (UGSs) in swarms of 250 robots or more to accomplish diverse missions in complex urban environments. By leveraging and combining emerging technologies in swarm autonomy and human-swarm teaming, the program seeks to enable rapid development and deployment of breakthrough swarm capabilities.
To continue the rapid pace and further advance the technology development of OFFSET, DARPA is soliciting proposals for the second “swarm sprint.” Each of the five core “sprints” focuses on one of the key thrust areas: Swarm Tactics, Swarm Autonomy, Human-Swarm Team, Virtual Environment, and Physical Testbed. This second group of “Swarm Sprinters” will have the opportunity to work with one or both of the OFFSET Swarm Systems Integrator teams to develop and assess tactics as well as algorithms to enhance autonomy.
I recently got a private tour of a NASA space shuttle’s cockpit, a quirky mosaic-covered LA home, and a peaceful chapel with light streaming through ornate stained-glass windows—all without leaving my chair.
That chair was in an office at Google’s Silicon Valley headquarters, and I was wearing an HTC Vive virtual-reality headset on my face. But because these places were filmed with a high-resolution prototype camera that reproduces some of the key cues we use to understand depth in the real world, it felt more like actually being there than anything I’ve experienced with any other live-action VR. Which is to say it was pretty damn cool.
I could peer around the seats in the space shuttle Discovery, revealing buttons and switches on the walls of the cockpit that were previously obscured. As I looked closely at mirrored bits of tile on the outside of the mosaic house, I glimpsed reflections of other tiles in the background and saw a dizzying display of shapes and patterns. In the chapel, I gazed at the floor, and the colorful sunbeams moved as I did.
“Five Landmark students, including Hansen, spent a year developing the game-based learning experience that does away with specialized terms, symbols, and formulas of a typical statistics course and replaces it with a Pokemon-like first-person adventure that exercises statistical thinking.”
In many ways, the future is unpredictable. A report by the World Economic Forum reveals that almost 65 percent of the jobs elementary school students will be doing in the future do not even exist yet. Combined with technological automation and the disappearance of traditional jobs, this leaves us with a critical question: how can we survive such a world?
The answer may be imagination.
Initially coined by Rita J. King, the imagination age is a theoretical period beyond the information age where creativity and imagination will become the primary creators of economic value. This is driven by technological trends like virtual reality and the rise of digital platforms like YouTube, all of which increase demand for user-generated content and creativity. It is also driven by automation, which will take away a lot of monotonous and routine jobs, leaving more higher-ordered and creative jobs.
A team of researchers at UC San Diego and San Diego State University has developed a pair of “4D goggles” that allows wearers to be physically “touched” by a movie when they see a looming object on the screen, such as an approaching spacecraft.
The device was developed based on a study conducted by the neuroscientists to map brain areas that integrate the sight and touch of a looming object and aid in their understanding of the perceptual and neural mechanisms of multisensory integration.
But for the rest of us, the researchers said, it has a more practical purpose: The device can be synchronized with entertainment content, such as movies, music, games and virtual reality, to deliver immersive multisensory effects near the face and enhance the sense of presence.
