In-Depth with Bryan & Shouvick: 1990 Spin & Flare

In-Depth with Bryan & Shouvick: 1990 Spin & Flare

Project Details

Two XR Hologram Designs | 2 Weeks

Team

  • Bryan Brown (Technical Specialist)
  • Shouvick Koley ( Product Designer)

Deliverables

Two quilt format mp4s for the Looking Glass Portrait display.

Project Goals

To create animated 3D models as quilt videos.

Tools Used

About

1990 Spin & Flare is a series of Breakdance Holograms with a design theme based around vaporwave and retro 3D shapes that inform movement. This symbiotic development between the Hologram and the movement makes the figure in the dance more critical, and to a certain extent, more democratic, while serving as the ideal medium to the identity of the movement. Tons of iterations, pivots eventually led us to make something that we are proud of. This project not only boasts our creative work but also the collaborative efforts that took place.

Character rigs in Cinema 4D

Characters & Design Concepts

Creating the right character would set the right mood for the hologram and this was an important step. The animations for the dance movements were curated from Mixamo and brought into C4D. A lot of trials were done with the vaporwave shape backgrounds when being brought into Unreal Engine, but they were not doing justice to the design and style. We decided to take the subdivision surface arrays off the background shapes and apply line patterns as material shaders instead in Unreal. This was a good decision as it increased the overall quality and file size of the project.

Building the Environments  in C4D

To create each scene for the two holograms we utilized  Cinema 4D to make the 3D models for the setting and characters with gradient pngs for the material created in Photoshop.

Scramble colorful tubes displayed in Cinema 4D
For ‘1990 Spin’, to generate the scrambled 3D lines a manually drawn spline was used with a extrude/sweep
Icosahedron shapes with iridescent gradients displayed in Cinema 4D
For ‘Flare’ a platonic (icosahedron) was used with an atom array subdivision series to create the grid line effect as a texture.

Building the Environments in Unreal Engine

To create each scene for the two holograms we went through a few different import processes. In the end importing the scene materials, background and static objects worked best with Datasmith, where the animated dancers worked best via .fbx files.

Icosahedron shapes with iridescent gradients and human female model displayed in Unreal Engine

Optimizing

Just because you can import something into Unreal, doesn’t mean you should.

In this case we built a custom wireframe shader to replicate the wireframe meshes that were created in C4D. This allowed us to significantly save on polycount.

Color Palette

Using a multi colored gradient is a great tool when experimenting with color palettes. We used this gradient for the colorful tubes in the first scene, and also for the rainbow panning texture on the wireframe icosahedrons. This allowed us to not worry about hex codes or if our color values were exactly the same, since we’re sharing the same texture.

Iridescent gradient color palette

Takeaways

Sometimes the thing that works best in one tool isn’t the best in another tool. Learning the intricacies of each tool you want to use is a fun challenge and can help level up your work and your own skills!

Learn more at Looking Glass Factory Learn.

Stay updated with Looking Glass Factory by way of newsletter.

Looking Glass Factory is dedicated to building the holographic future. Sign up for our newsletter for the latest events, product updates, and more.