Monkeystack was brought onboard to populate highly detailed, photogrammetrically created scenes with believable soldiers with the final product processed to work in a real-time VR environment.

First, we tackled character modelling to create a set of believable CG soldiers using captures of the original uniforms, hats, backpacks and boots, bringing the soldiers to life with realistic, real-time animated actions. By using a mix of motion capture for more generic movements and hand keyed animations for more specific actions, we streamlined the animation process while still delivering a quality outcome suitable for VR. We then processed complex photogrammetry assets to recreate realistic, real-time CG representations of the battle fields from 1942.

There was significant volume of processing work required to optimise the scenes as the photogrammetry assets ran in the hundreds of millions of polygons and needed to be significantly reduced to run in a real-time environment. The final result is an immersive and powerful educational in both a VR and AR App experience.

We took a cinematic approach to the visual styling and edited fast and furiously to engage an audience with heart-stopping racing scenes set in a fictional, yet familiar cityscape.

With a gear grinding sound design and composition from local composer, Justin Pounsett from The Audio Embassy, Midnight Revolution would be one awesome game to play.

The Vault game is a journey into history, an immersion into the experiences and emotions of those whose lives were very different from our own. There, we discover unfamiliar feelings, uncanny characters who are like us and yet unlike. It is also a journey into the human condition, into a metaphoric space in which being truly, richly human is the only way to survive-provoking us to consider not only our past but our future.

The Vault won the Best Console / PC Hardcore Console and Best Indie Game categories at the Game Connection Development Awards at Game Connection Europe 2018.

See more at The Vault website.

 

The viewer is placed within a highly detailed apartment, complete with cinematic lighting and sound design, where they can move within the environment and interact with a series of objects.

This approach to building interactive worlds in XR is one that we are constantly refining and employing within other VR projects. From an industry training and education perspective, we want to enable people to better navigate environments and objects and familiarise themselves with their function or specification while in an immersive, low-risk environment.

After an initial introduction through a home loan TVC, ‘POCU’ the fuzzy blue mascot now features in Police Credit Unions’s full slate of marketing materials including TVC, print, web and apps.

All the modelling, rigging and animation and renders of the POCU universe are created within the Monkeystack studio. He’s part of the family!

NOTE : The work presented in this portfolio is for demonstration purposes only; rates / offers displayed may not be current.

 

The History of Space in Australia takes audiences from the early days of Woomera in 1947 through to our current contributions to space exploration and the global Deep Space Network. Working with archives, libraries, museums, historians, agencies, personal collections and cultural leaders in Australia and internationally to produce the animation which is what we believe the most accurate, animation and video depiction of the topic from an Australian perspective in existence. We commissioned South Australian composer Chris Larkin to create the moving score.

This 9 minute video had its first official premiere at the International Astronautical Congress in Washington D.C. in October 2019.

Bridget is infatuated with Emo, a good looking praying mantis, and like many teenage girls, finds her little brother annoying and is embarrassed by her dung beetle father. Bridget’s angst-ridden life is played out on reality television with her and her friends happily talking to the cameras, hoping they will become reality TV stars.

Produced with assistance from the South Australian Film Corporation.