Infinite Realities® is the 3D scanning service provided by Lee Perry-Smith, the leading 3D modelling and Scanning specialist based in Suffolk, UK. In simple terms, according to them: “We can scan any human being and replicate them in three dimensions as data held in a computer. Our scanning process picks up every detail of their eyes, face, hair, skin colour, body shape and distinguishing features – everything that makes them who they are.”
A downloadable demo by Infinite-Realities put together in Unity features high resolution 3D scans of people in a virtual environment. Incredibly realistic, and can be viewed through an Occulus Rift headset. You really need a next-gen PC to run this demo.
Below are two videos which demonstrate the demo:
Combining 3D scans of real life models in ultra high detail with the Oculus Rift and the Razer Hydra for movement controls to make one of the most realistic and uncanny experiences in Virtual Reality.
Thanks to Yoni Goldstein.
Impressive demonstration of turning 2D objects in photographs into manipulable 3D objects, using a simple 3 point method at key areas. Via kesen.realtimerendering.com
This is only a small selection of recent dance work and therefore is a omitting a long list of dance collectives, performance artist, and other experimental movers/thinkers who have contribute tremendously to the development of what you will see below. Thanks to all of them.
SERAPH(2010): Created by Robby Barnett, Molly Gawler, Renée Jaworski, and Itamar Kubovy in collaboration with the MIT Distributed Robotics Laboratory, directed by Prof. Daniela Rus and including current and former MIT PhD students William Selby, Brian Julian, Daniel Soltero, Andrew Marchese, and Carrick Detweiler (graduated, now assistant professor at University of Nebraska, Lincoln). Music: Schubert Trio no.2 in E Flat, Op.100. ll Andante con moto
Anarchy Dance Theatre (From the project description): The collaboration project between Anarchy Dance Theatre and Ultra Combos focused on building up a new viewer centered performance venue. In this space all movements including the dancers’ and audience’s can be detected and interact with each other through visual effect. The audience is not merely watching the show but actively participating in it. More HERE
Trinity (From the project description): a dance performance with high levels of real time interaction and close relationship between: dance, sound and visuals.
The interactive link is done through a videocamera installed above the stage and under infrared lighting. Besides positional tracking the project is focus in measuring movement qualities as: forces and directions, accelerations, stage position, velocity and body area.
The performance has been created and executed in live using the environment MAX/MSP/JITTER by Cycling74 and the computer vision library CV.JIT by Jean-Marc Pelletier. More HERE
Dance and Projection Mapping from Daito Manabe (http://www.daito.ws/#2)
Instrumental Bodies (From the project description): Researchers at the Input Devices and Music Interaction Lab at McGill University recently released a video documentary on the design and fabrication of “prosthetic digital instruments” for music and dance. These instruments are the culmination of a three-year long project in which the designers worked closely with dancers, musicians, composers and a choreographer. The goal of the project was to develop instruments that are visually striking, utilize advanced sensing technologies, and are rugged enough for extensive use in performance.
The complex, transparent shapes are lit from within, and include articulated spines, curved visors and ribcages. Unlike most computer music control interfaces, they function both as hand-held, manipulable controllers and as wearable, movement-tracking extensions to the body. Further, since the performers can smoothly attach and detach the objects, these new instruments deliberately blur the line between the performers’ bodies and the instrument being played. More HERE
Cadence I – IV (The artist’s description): The institution of the military is steeped in performative traditions, rituals and practices. Indeed the collective military body can be thought of as being characterised by a carefully calibrated choreography of movement.
Cadence (2013) is a series of four new-media artworks whose subject sits between war and performance. In these new video works, the figure of the Australian, US and Taliban soldier is placed within formal landscapes appropriated from pro-military cinema and military training simulators.
Rather than enacting standard military gestures or postures, the simulated soldier performs a slow and poetic dance. The usual politics of movement, discipline and posture of the military body are subverted, and instead rendered soft and expressive.
The seductive visual rhythm of cadence, camouflage and natural mimicry in these works gesture towards the dark mysticism of military history, where soldiers and psychedelics have often combined to disrupt landscapes and produce mystic escapes.
Technological backstage – Mr & Ms Dream a performance by Pietragalla Derouault Company & Dassault Systèmes: a behind-the-scenes process, showing how a dance piece that uses projection and real-time processing is put together.
Gideon Obarzaneks Digital Moves: Hailed by The Australian as the countrys best modern dance company, choreographer Gideon Obarzaneks Chunky Move dazzles audiences with its use of site-specific installations and interactive sound and light technologies. Obarzanek’s avant-garde performances explore the tensions between the rational world we live in and richness of our imagination.
…and a beautiful composition by Ryoji Ikeda called Forest Of Memories. Taken from dumb type’s memorandum. A performance that brings their unique audiovisual architectonics to an investigation of memory.
Memorandum (Text via Epidemic): Combining elements of multimedia, dance and fragmented narrative, memorandum explores the hazy dimensions of recall that ground and disquietly erode our experience minute-by-minute.
The set is simple – almost an abstraction. A bare stage is bisected by an impenetrable but translucent wall, a screen onto which will be projected a barrage of images.
Amidst a cascade of white noise and REM-speed visual flashes, the performers break down the motions into displaced gestures in silhouette.
Penetrating deeper beneath the surface of moment, dancers drift in a slow sensual subconscious slidestep through the “forest of memory” haunted by voices and desires.
Unnoticed by waking reason, a lone witness/observer records evidence of the scene and is repeatedly eliminated.
Whereupon three figures cycle through three different accelerated subroutines of emotion, instinct and intellect, scarcely intersecting, each oblivious to the oblique “orbital” workings of the other.
Until finally, the dance emerges onto a primal oceanic frieze simultaneously flooded and exhausted of meanings.