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In a remote part of Utah, a small team of engineers, designers, and enthusiasts are creating fun and innovative experiences that rival anything you’d see at Disney World or Universal Studios.

The Void is a new age playground that seamlessly blends virtual reality experiences with physical environments, using effects like wind and water to make those virtual worlds feel even more convincing — anything from jungles to caves to fantastic environments you couldn’t dream of.

Here’s an example of an experience at The Void where you explore a research facility and shoot your way through spiders, drones, and an alien.

Produced by Corey Protin. Report by Dave Smith.

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When I was a kid I remember being a member of Ms. Frizzle’s classroom. We went on adventures under the ocean, into the rainforest, out to the stars, and even to the center of the Earth and it was amazing.

Of course I am talking about my time on the Magic School Bus.

A relic of the nineties, the Magic School Bus starred Lily Tomlin as Ms. Frizzle, an eccentric teacher who owned a magic school bus that she used to take her students on fantastical journeys. The show and subsequent video games were a big part of my, and thousands of other children of the nineties’, formative years as it presented educational topics in an engaging way that made you curious to learn more.

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Meet “Unreal Engine”; VR’s friend in VR game creations.


Epic Games has been teasing “the future of VR development” recently, and the team is finally ready to tell everyone what that is: Creating virtual reality content within virtual reality itself, using the full version of its Unreal Engine 4. Epic cofounder Tim Sweeney says that while the company’s been supporting the likes of the Oculus Rift from the outset, the irony is that, up to this point, the experiences we’ve seen so far have been developed using the same tools as traditional video games. “Now you can go into VR, have the entire Unreal editor functioning and do it live,” he says. “It almost gives you god-like powers to manipulate the world.”

So rather than using the same 2D tools (a keyboard, mouse and computer monitor) employed in traditional game development, people making experiences for VR in Unreal can now use a head-mounted display and motion controllers to manipulate objects in a 3D space. “Your brain already knows how to do this stuff because we all have an infinite amount of experience picking up and moving 3D objects,” Sweeney says. “The motions you’d do in the real world, you’d do in the editor and in the way you’d expect to; intuitively.”

Imagine walking around an environment you’re creating in real time, like a carpenter surveying his or her progress while building a house. Looking around, you notice that the pillar you dropped in place earlier is unexpectedly blocking some of the view through a window you just added. Now there isn’t a clear line of sight to the snowcapped mountain on the horizon. Within the VR update for Unreal Engine 4, you can pick the pillar up with your hands and adjust its placement until it’s right.

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I will admit there is some great VR and AI talent in the UK.


U.S. giants such as Apple and Microsoft are flocking to the U.K. to buy artificial intelligence (AI) start-ups as Britain establishes itself as the go-to place for the technology.

Microsoft announced that it had acquired London-based Swiftkey, an AI start-up that makes a predictive keyboard for smartphones, on Wednesday for $250 million, sources close to the deal told CNBC.

“We are looking for interesting tech. It is not new news that London is the most advanced start-up ecosystem in Europe,” a Microsoft insider who wished to remain anonymous because they were not authorised to speak publicly about the deal, told CNBC on Thursday.

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