LONG NIGHTS IN OUTER SPACE

PROJECT DETAILS

I) MOBILE + HMD DIAGRAMS

II) PROJECT DESCRIPTION

III) DESIGN

IV) INNOVATIVE TECHNOLOGIES

V) VIDEO WALKTHROUGH WITH CREATIVE DIRECTOR, JOEL IRWIN

VI) LONG NIGHTS IN OUTER SPACE: EPISODE I (PROTOTYPE SCRIPT)

VII) LONG NIGHTS IN OUTER SPACE (FULL SCRIPT)

VIII) THE TEAM

I) MOBILE + HMD DIAGRAMS

II) PROJECT DESCRIPTION

WHAT IS “LONG NIGHTS IN OUTER SPACE”? LONG NIGHTS IN OUTER SPACE is an out-of-this-world spatial cinema experience that transports viewers to the furthest reaches of our galaxy via dynamic 3D environments and interactive sci-fi storytelling. Released in 3-5 minute episodes through our free-to-download app, the project is one of the first spatial cinema experiences optimized for both mobile devices (smartphones/tablets) and mixed reality headsets (like the Quest 3 or Apple Vision Pro), taking full advantage of these devices’ spatial computing capabilities to offer viewers a dynamic and wholly original sci-fi experience.

HOW DOES IT WORK? Users simply download our app onto their mobile device or headset and open the app to access the experience; our unique ‘shadow box’ spatial cinema then appears through their device, complete with our volumetric 3D+ screen, proscenium frame, and interactive 3D assets built right into the shadow box design. Once viewers press ‘PLAY’, LONG NIGHTS IN OUTER SPACE begins in fully volumetric 3D+ , and viewers can look around our lush environments and interact with our dynamic 3D assets as the story plays out before them. Because every element is designed to enhance the main story-driven experience (rather than distract from it), LONG NIGHTS IN OUTER SPACE effectively combines the virtues of traditional linear cinema with fully interactive and immersive environments to bring our story to life.

WHAT ABOUT THE STORY? The story follows Joku - the lone survivor of a spaceship that crashes on a frozen planet - as he discovers he’s not alone on the ice. The plot is simple but effective for introducing viewers to spatial cinema, using arresting visuals, dynamic assets/environments, and a lean-but-compelling narrative to showcase the power of this new storytelling medium; there is no dialogue, so viewers can not only enjoy the stunning visuals, but the ambisonic soundscapes and haptic triggers woven right into the experience, deepening immersion through spatial audio integration and haptic feedback. Designed top-to-bottom to be the ultimate spatial cinema experience, “LONG NIGHTS IN OUTER SPACE” advances next-gen storytelling through a fun, dynamic, and unforgettable journey into outer space.

III) DESIGN

Our unique spatial cinema design was developed top-to-bottom to maximize user comfort while deepening user engagement and immersion. This design – that we call the ‘Shadow Box’ design – is built on three key features:

i) SHADOW BOX 3D+ SCREEN: Our Shadow Box 3D+ screen is where the linear action of the story takes place. Using the latest volumetric tools in the Unreal Game engine, we can build three-dimensional cube-like screens with incredible volumetric depth and high-fidelity graphics for both mobile devices and HMDs, offering a much more immersive and dynamic experience than traditional 3D movie formats. Based on our research, offering a ‘contained’ spatial cinema screen (rather than a fully immersive one) is much more effective for introducing new viewers to spatial media, as it dramatically reduces ‘sensory overload’ and ‘motion sickness’ - two of the biggest barriers to spatial media experiences – while effectively upgrading the cinematic medium from a 2D/3D screen to a fully volumetric 3D+ screen with enhanced depth, texture, and detail.

ii) PROSCENIUM FRAME: We designed our spatial cinemas to maximize user comfort without compromising on the quality of the experience. As mentioned above, one of the biggest barriers to spatial experiences is ‘motion sickness’, especially among new spatial media users: to combat this, we developed our ‘proscenium frame’, a fixed boundary that clearly delineates our spatial content from the users own space which, based on our research/testing, dramatically reduces motion sickness for both new and seasoned XR users.

iii) INTERACTIVE 3D ASSETS/ENVIRONMENTS: Interactivity is a fundamental part of LONG NIGHTS IN OUTER SPACE, as it invites viewers into the world of our story. To achieve this, we integrate fully responsive 3D assets/environments right into our ‘shadow box’ design. These assets/environments intelligently react to user decisions via position triggered events: for example, if a viewer gets close to one of the strange icebergs populating the planet, the iceberg will react with position-triggered animation (it can start to glow, for example ) while emitting strange sounds and vibrations via ambisonics + haptic feedback. Our HMD users can even reach out and touch some of our 3D assets/environments via hand-tracking or TruTouch haptic controllers, triggering an asset-response and touch-sensation (via haptics). Additionally, to encourage user engagement, we’re incorporating a ‘NEXT’ button into the experience so – like turning a page in a book – users can decide when to move from one scene to the next, allowing them to explore our immersive and interactive environments at their own pace.

IV) INNOVATIVE TECHNOLOGIES

Our project brings together a number of innovative technologies to advance the spatial cinema experience for both mobile and HMD users. The following are some of innovative technologies critical for our project’s success:

INTERACTIVE 3D ASSETS/ENVIRONMENTS: We integrate fully responsive 3D assets/environments right into the world of LONG NIGHTS IN OUTER SPACE. As described above, these assets/environments intelligently react to user decisions via position triggered events, using customized animations, ambisonics, and haptic vibrations to bring our world to life.

HAPTIC FEEDBACK: Activating the haptic motors built right into mobile devices/HMDs, we create real sensations of touch and immersion in the story. For example, when the spaceship crashes on the ice-planet, users will ‘feel’ the crash via haptic vibrations on their mobile devices or HMD controllers. Additionally, for HMD users, we can enhance immersion and interactivity by activating haptic sensations when they reach out and touch our assets or environments. So, for example, if they touch an ice-volcano on the frozen planet, they can feel the vibrations of an asset about to erupt.

SPATIAL AUDIO + AMBISONIC SOUND: to make the experience even more immersive and interactive, we’re incorporating spatial audio and ambisonic sound into the story. Spatial audio allows us to create rich and immersive 3D soundscapes for users to enjoy. Ambisonics adds another interactive layer to the spatial experience: based on the same position-tracking technology mentioned above, viewers will hear specific sound effects based on their proximity to specific assets. So, for example, if they get close to an erupting ice-volcano, this will trigger an ambisonic event, where they will hear the volcano erupting, and the closer they get, the louder the volcano will sound. Ambisonics is a key part of the immersive and interactive nature of the experience.

ADVANCED EYE-TRACKING FOR MOBILE DEVICES: Because mobile devices can’t offer the same stereoscopic depth as headsets, we use their advanced eye-tracking systems to create stunning parallax effects strikingly similar to sterescopic 3D+. These eye-tracking systems (such as ‘TrueDepth’ on iPhones/iPads) allow us to shift the perspective of our spatial cinema based on the position of the viewer, creating a sense of spatial depth and immersion that radically transforms the viewing experience of our users. Combining this feature with their position-tracking systems, we allow our mobile viewers to step into the world of LONG NIGHTS IN OUTER SPACE using their handheld device as their looking glass to explore the strange new worlds before them:

V) VIDEO WALKTHROUGH WITH CREATIVE DIRECTOR, JOEL IRWIN

VI) LONG NIGHTS IN OUTER SPACE: EPISODE I (PROTOTYPE SCRIPT)

LONG NIGHTS IN OUTER SPACE - PROTOTYPE SCRIPT.pdf

VII) LONG NIGHTS IN OUTER SPACE (FULL SCRIPT)

LONG NIGHTS IN OUTER SPACE.pdf

VIII) THE TEAM

Joel Irwin

Creative Director

Joel Irwin is an experienced entrepreneur with over a decade of work in the digital art space. In 2004, he helped convert an old museum in Algonquin Park into a successful art gallery, the Algonquin Art Centre, where he developed, produced, and delivered a number of interactive art exhibits, featured-artist films, and digital art experiences ranging from online exhibits to video tours to virtual displays for clients to sample art on their walls. While running the Centre, Joel also worked as a freelance screenwriter, adapting books into scripts for LA-based company VOYAGE MEDIA and optioning & selling his own original screenplays to producers in both Canada and LA. In 2023, Joel founded Shadow Box Cinema Inc., a spatial media + entertainment company that combines his passions for film, technology, and art exhibitions.

Joris Demnard

Project Leader

Joris Demnard is a digital architect and solution provider of 3D, XR, and web solutions for the art and cultural sector. Over the last 8 years, his company IKONOSPACE has developed high-tech solutions ranging from 3D virtual galleries for artists and galleries to custom-made solutions for clients such as Art Basel, the Louvre Abu Dhabi, and the LOEWE FOUNDATION. Joris has worked closely with 3D artist and generalist Manuel Farre on numerous interactive projects for IKONOSPACE since 2020.

Manuel Farre

3D Artist

Manuel Farre specializes in VFX, UNREAL integration, 3D asset creation, and 3D modelling, and has delivered outstanding interactive XPs for both headsets and mobile devices. Known for his out-of-the-box approach and problem-solving abilities, Manuel brings over a decade of XR experience to SHADOW BOX and has a proven track-record working with Joris on various XR projects.

Julian Calle

Art Director

Jullian Calle is a Vancouver-based graphic artist with over nine years of experience in the entertainment industry; he specializes in film, television, and video games and has worked on blockbuster films such as SPIDERMAN: FAR FROM HOME and LOGAN, ground-breaking animation projects like LOVE, DEATH, AND ROBOTS, and award winning video games such as DIABLO IMMORTAL and ONCE HUMAN. As the principal concept artist at NetEase Games, he’s led concept art teams to produce high-quality visual pieces that aligned with unique and new artistic visions. He’s an expert at delivering storyboards, conceptual art, optimizing workflows, and collaborating effectively across multidisciplinary teams, and he’s deeply passionate about shaping compelling worlds where story and design are fully integrated. This passion extends to actively developing original out-of-the-box projects like LONG NIGHTS IN OUTER SPACE. In addition to his industry contributions, Julian is an educator and speaker, having taught graphic design at the university level for over five years and presented at prestigious events like SIGGRAPH Vancouver. Julian also introduced Joel to 3D animation artist and longtime collaborator, Marco Menco. Julian and Marco have worked together on numerous projects, including FANTASTIC BEASTS: THE CRIMES OF GRINDLEWALD, LOST IN SPACE, AND CARNIVAL ROW and have a proven track-record delivering high-end 2D and 3D art and animation.

Marco Menco

3D Animation Artist

Based out of Vancouver, B.C., Marco possesses a diverse skill set spanning traditional arts, theater, concept art, and spatial media. Educated at Accademia di Belle Arti in Italy, he has excelled in 3D modelling and texturing, animation, art direction, character design, and Unity/Unreal Engine integration. Ending his time at Sony Interactive Entertainment as a full-time Lead Blendshape Artist, Marco has directed scanning acquisitions, processed geometries, and created facial networks. With extensive experience in the industry, he has contributed to notable projects such as MORBIUS, THE HOBBIT TRILOGY, and SPIDERMAN: NOW WAY HOME as a Facial Lead and Senior Facial Modeller. Previously, Marco led the team at Image Engine, playing a pivotal role in developing the facial rig for LOGAN and transforming Grindelwald in FANTASTIC BEASTS. During his time at Weta, he specialized in human faces and made significant contributions to projects like the HOBBIT trilogy, IRONMAN 3, and FAST 7. At Double Negative, he led a mixed team of artists in creating creatures and digital doubles for films such as STAR TREK: BEYOND, THE HUNTSMAN, and ALICE: THROUGH THE LOOKING GLASS. Marco's talent and dedication have earned him recognition, including a nomination by the VES for "Outstanding Animated Character in a Live Action Feature Motion Picture" for his work on THING (2011). Known for pushing creative boundaries and constantly honing his skills, Marco has a special interest in next-gen storytelling and spatial media and is an expert in Unreal Engine integration and animation, both in 2D and 3D.

James M Findlay

Spatial Sound Designer

James M Findlay is a Music Composer, Sound Designer and Immersive Sound Artist.

Being a Bassist and Synthesist first and foremost, James’ Compositional Style lends itself to Experimental and Film Music particularly well, as he is as equally tuned into a piece that needs driving energy as he is to a piece that needs ambient minimalist space to grow and develop. You can also catch James out in the field capturing immersive ambiences and characterful sfx. He has been lucky enough to travel extensively and capture sounds from Pakistan to New Zealand to Iceland. Never without some sort of recording rig, he never passes up an opportunity to capture sounds - from natural soundscapes to parking garages and elevators - the world is full of intricate and intriguing sound.Having studied and worked with different artists the world over, from traditional genres like Jazz, Classical and Pop to more Experimental and Abstract music forms within the world of Film and Synthesis, James has honed his technical and creative production skills and carved out a niche for himself as versatile and talented Sound Artist who integrates Creative Sound Design and Contemporary Music Composition into all of his work.

Joe Russo

Producer

Joe Russo is a three-time BloodList screenwriter whose feature film credits include the Peyton List and Bob Gunton starring horror film, THE INHERITANCE (#3 movie on Hulu, Christmas 2024), the Bruce Willis-starring HARD KILL (#2 movie on Netflix, Thanksgiving 2020), the Ryan Phillippe, Ving Rhames and Kate Bosworth-starring THE LOCKSMITH and the Neal McDonough-starring SOUL MATES. In 2020, the writing duo penned the thriller THE AU PAIR NIGHTMARE, which Russo directed. The movie debuted to strong reviews and ratings, with USA Today saying it “pushes all the right buttons.” Russo also directed the short film BE MINE for Crypt TV. His short MIDNIGHT CLEAR (featured on Entertainment Weekly, Nerdist and io9) was released on Gunpowder & Sky’s digital platform, Alter.As a producer, Russo’s feature credits include the Mickey Rourke-starring horror anthology NIGHTMARE CINEMA (#2 movie on Shudder in 2019) and the Zac Efron and Russell Crowe-starring THE GREATEST BEER RUN EVER, which premiered at The Toronto International Film Festival. Notably, Russo acquired the life-rights to THE UNTITLED HULK HOGAN BIOPIC which sold to Netflix with Chris Hemsworth starring and Todd Phillips (JOKER) directing. Previously, Russo has worked as a writer, producer and development executive with companies like Fox, MGM, Showtime, SyFy, History, Adam Sandler’s Happy Madison, Will Smith's Overbrook, Sam Raimi's Ghost House Pictures, Davis Entertainment, Voltage Pictures, Millennium, Lionsgate, Amazon and more. In the podcast space, Russo produced seven seasons of the award-winning horror series POST MORTEM WITH MICK GARRIS, featuring over a hundred in-depth conversations with genre legends like Stephen King, Quentin Tarantino, John Carpenter, Guillermo del Toro, Edgar Wright and many more.

Russo is repped at Gersh, Fictional Entity and Yorn Levine.

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