Categories: General

This XR Space is Impressive

By Bobby Carlton

The XR stage is designed to spark creativity, and lets TV and film studio unlock their ideas

Part of the FS Studio team was in NYC this week to work with recruiters in multiple industries by showing them how XR technology can help them source new talent and keep employees engaged with meaningful training, and how a virtual hub can connect remote teams.

While in NYC, we took a moment to head on over to Brooklyn to join an ARHouseLA NYC meetup to hangout with AR and VR creatives, and to check out the massive 40,000 sq. feet XR art space, ZeroSpace, a facility that features a fixed-install LED XR Stage, a Vicon Motion Capture Stage, and rentable warehouse space for film/photo shoots and live event production.

XR Stage

Not only do they have an amazing motion capture stage, but they also have this massive XR stage that produces really amazing XR footage.

Stage Dimensions: 13’ (h) x 38’ (w) x 24’ (d)

  • VIDEO RIG
    • Walls: 224 ABSEN PL2.5 Pro REC 2020, Full HDR 13’ Tall x 38’ Wide
    • Floor: 180 ROE Black Marble BM4 Matte 20‘ Deep 40’ Wide
    • Disguise VX2 & RX2 Media Servers
    • Brompton Controlled

Check out our tweet below showing video of it in action and its scale.

https://twitter.com/fsstudiodev/status/1574958191074746369?ref_src=twsrc%5Etfw” target=”_blank” rel=”noopener

Elena Piech, an XR/Web3 Producer at ZeroSpace gave attendees a tour and talked about the work being done there and how they use the space for TV, film and corporate events saying, “the space is designed to spark creativity, and lets TV and film studio unlock their ideas.”

Of course we’ve seen large productions such as Disney’s The Mandalorian and Warner Bros. The Batman use virtual sets to be able to control the environment and speed up the filming process by simply switching virtual locations with a simple click on the computer using Unreal Engine.

According to a VRScout article, creatives used Unreal Engine’s new production tool to manipulate the entire scene, including all the special fx, and it can be changed live on set in real-time. In one example provided by Unreal Engine during a commercial shoot, a rock in a scene needs to be moved to help with the camera shot. To do that, the filmmakers simply just pick up the rock and move it, virtually, through a device such as an iPad.

Creators also have the power to change things such as lighting with a simple fingertip gesture. Slide your finger up, down, left, or right and the lighting angles change in a way that will impact the CG environment as well as the actors and props; with just a few simple gestures you can instantly change the time of day from sunrise to nighttime.

Bobby Carlton

Bobby Carlton leads business development at FS Studio, where he works with robotics, autonomy, and manufacturing teams to figure out what they actually need from simulation before a single asset gets built. His view is that the next chapter of immersive technology is not a headset. It is the physical world learning to think. That work sits at the point where robots, digital twins, and synthetic data stop being separate disciplines and become one: teaching machines to understand and act in real environments. He spends his time on the practical end of it, translating between the engineers building high-fidelity simulation and the operators who have to justify it on a plant floor, in a warehouse, or across a fleet. On the FS Studio blog he writes DigiTalk, a running look at how Physical AI is being built right now. The posts cover embodied reasoning, teleoperation data, humanoid reliability, sim-to-real transfer, and the tooling underneath it, including NVIDIA Omniverse, MuJoCo, and OpenUSD. No hype, no roadmap fan fiction, just what changed and what it means for teams shipping real systems. Bobby is based in Albany, New York, and studied at the State University of New York at Albany.

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