Projects

Gestural Interface

AVATAR EXHIBITION

MUSEUM OF POPULAR CULTURE, SEATTLE.

THE CHALLENGE

When James Cameron pioneered the digital filmmaking techniques seen in Avatar, he raised the bar for realism for computer-generated imagery. This exhibition for Seattle’s Museum of Popular Culture immerses visitors in the technology behind the movie, enabling guests to shoot and act in their own Avatar-set scenes. Our task was to demystify these complex production techniques, putting movie-making magic in the hands of the audience.

OUR SOLUTION

We designed, prototyped, engineered and installed four state-of-the-art exhibits, working closely with the museum’s curator and exhibit designers, James Cameron and his production company Lightstorm.

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MULTITOUCH TABLES

INTUITIVE INTERFACES FOR RAPID BROWSING

These interactive tables showcase the concept art that helped shape the ecology and technology seen in the movie. Using an interface that combines physical tokens with a multitouch surface, guests can explore artist concept sketches, director’s notes and prototype 3D models created by the movie production team.

Combining physical tokens with natural gestures such as “tap,” “swipe” and “stretch,” provides the basis for a highly efficient interface. Users can quickly open and close topics by adding or removing tokens from the surface.

The horizontal orientation and wide surface area also have the beneficial effect of helping initiate social interactions. People actively enjoy sharing what they discover, passing imagery and tokens along the surface - for friends to get a closer view.

The exhibit won two international design awards and became a core technology for Snibbe Interactive during my tenure as creative director. Variations of the technology were later installed in dozens of museums across Europe, Australia, and the USA.

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THE MOTION CAPTURE STAGE

PERFORM A SCENE AS A VIRTUAL CHARACTER

The Motion Capture Stage creates the uncanny sensation of inhabiting an alien body, transforming anyone that enters the space into a 10-foot tall “Navi” character. The system uses 17 motion tracking cameras to map player’s bodies in 3D space, using their movements to “puppeteer” virtual characters in real-time.  

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The exhibit replicates the techniques Cameron used to shoot Avatar, in which actor’s performances provided realistic movement data for the digitally produced Navi characters. In our exhibit, guests watch themselves perform in a virtual landscape, interacting with virtual plants that respond to their movements.

Our challenge was making the experience feel completely seamless, maximizing visitor through-put while still giving everyone a tangible sense of achievement. We achieved this by keeping set-up to a minimum, projecting stage directions onto the floor, and working with James Cameron to produce a video that walks them through the scene.

DIRECTED BY JAMES CAMERON


When James Cameron kindly agreed to be our virtual director, I worked with him and the museum to produce an instructional video - so guests could be directed like the actors in the movie.

Animated floor projections also help show guests where to move around the capture volume, keeping in time with the virtual scene that plays out on the monitors. The performance ends when Cameron shouts “cut!” and players are invited to share a recording of their performance on social media.

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GESTURE RESPONSIVE WALL

STEP INTO PANDORA AND INTERACT WITH THE INHABITANTS

This interactive wall produces a calming and meditative experience by recreating the "Willow Glade" scene from the movie. By stepping into the projection, people’s silhouettes attract floating “Woodsprites” - delicate creatures that float through the air to eventually come and rest on outstretched arms.

Sudden movements frighten the creatures, triggering a panicked exodus that sends them upwards and out of view. By slowing their body movements, guests discover they can coax the creatures back down to rest along the full width of their shadow.

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VIRTUAL CAMERA EXHIBIT

LEARN HOW TO SHOOT A VIRTUAL SCENE FROM AVATAR

THE CHALLENGE

Making a film from virtual scenes negates the need for a real camera - an operator could theoretically control what the camera sees using a keyboard and mouse. But Cameron learnt his art using analogue cameras, so needed a more familiar interface - something that would enable him to use his body to define the view.

So when he shot Avatar, Cameron developed the technology behind a new type of camera - a ‘virtual camera’ that tracks its position in 3D space. These tools look and feel like regular cameras, but instead of filming objects, they capture a virtual scene modeled inside a computer. The technology enables the director to use their body to define the view, giving them greater control over what viewers see.

Our challenge was to provide guests with a taste of what it's like to film a scene with a virtual camera, and to make these cameras "museum proof" - so they could be toured across America. The 3 cameras also needed to guide users through a shoot and end with instructions explaining how to share the finished video on social media.

This complex project involved detailed 3D design work, inventive use of digital gyroscopes, several rapid manufacturing techniques, and adapting the original 3D files used in the movie to work on our system.


OUR SOLUTION

Our virtual cameras needed to withstand the demands of a well-trafficked exhibition environment, so we developed, tested and redeveloped a robust design with serviceable parts.

We also added a self-explanatory onboarding experience that set the budding filmmaker up for success. The experience took a few moments to master but once in full flow, felt uniquely empowering. For example, after activating the scale-movement function, a two-foot vertical pan could become a 200-foot tracking shot of a helicopter taking off, turning the operator into an invisible giant. Then once the scene was over, the system offered to save their shot to social media, for sharing and viewing later.

After building three cameras that toured science museums around America, we designed and engineered a second version for Autodesk, which became a popular exhibit in their innovations gallery in San Francisco.

AWARDS

2 Communicator Awards.


DESIGNED WITH

Snibbe Interactive, EMP Museum, Lightstorm, Weta Effects.


MY ROLE

I assembled and presented the project winning proposal, then provided creative direction, concept design, visual design, and interaction design for all four exhibits. I also worked closely with our software development and installation teams, ensuring we moved forward as a collective.

This was a fast-tracked project. All four exhibits needed to be designed, engineered and installed in just 4 months. To aid this process I transitioned our team to new project management tools, so we could communicate more efficiently with our client.


CLIENTS

Museum of Popular Culture, Seattle. James Cameron. Autodesk.