Project
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Murrook Cultural Centre
(2023)
Interactive Installation

Category
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Design
Art Direction
Motion Capture / Performance
Photogrammetry
Audio Field Recording
World Building
Unreal Engine Development

Synopsis
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Working with the team at Electric Lens Co to bring an Aboriginal Australian story to life for an interactive installation. I captured and built the environment, created characters in Unreal Engine, and performed motion capture to drive their animations.

A cultural story

This interactive installation honors a timeless Aboriginal mullet run from the Nelson Bay region, an experience shared through the ages by local Aboriginal peoples. Our goal was to build out animated visuals to facilitate deep immersion in the mullet run story. Through careful study and respect for indigenous knowledge, we helped realize the vision of this storytelling experience.

Capturing the Essence

To create a truly authentic digital environment, I ventured on-site to soak in the unique atmosphere of Nelson Bay and Bagnalls Beach. Our task was to meticulously document the setting using a variety of techniques. Aerial drones captured larger spaces for the photogrammetry processing and cameras on the ground were used for capturing trees, bark, grass, and sand, etc... These landscape elements were painstakingly compiled within Reality Capture, laying the foundation to world build in Unreal Engine. Spacial audio recordings were also captured to bring the soundscape to life.

Building the World

Within Unreal Engine, I recreated the coastal setting, extending from the beach to the campsite. A vital piece of the story involved digitally re-creating a vandalized 300-year-old tree, a cultural relic that was used for spotting the mullet. Combining the laser scans from the client with modeling and texturing work, we resurrected this natural monument within our virtual world. Using MetaHuman Creator, I shaped characters in MetaHuman Creator and personally performed motion capture for their actions then arranged these in Unreal Engine's sequencer. To create organic interactions, I developed a dynamic system between Unreal Engine and TouchDesigner. Visitors delight as soldier crabs scatter around their feet and schools of fish react to their presence in the spearing scene.

Credits
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Agency Art of Multimedia
Director Jason Stevenson
World Building - Luke Bubb
Technical Director - Mathew Hermans (ELC)
Game Programmer - Shiloh James

Project
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Circular Fashion Summit
(2021)
Virtual Reality Live Event

Category
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Design
Art Direction
World Building
Mocap Acting

Synopsis
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In a groundbreaking stride for the fashion world, we created the world's first VR Circular Fashion Summit in 2020 and 2021, reshaping how we experience sustainable confrences. The pivotal mobile VR aspect played a key role, democratizing access to this transformative event. Nestled in the illustrious Grand Palais, our team at the Electric Lens Company collaborated to craft a virtual realm that wasn't just an event – it was an immersive journey into the future of fashion. Through meticulous world-building, we fused innovation and responsibility, inviting attendees to explore and redefine the boundaries of style and sustainability. It wasn't just a summit; it was a Seth Godin-esque proclamation – a revolution in communication and experience.it has become the largest VR gathering in the Fashion industry, attended by more than 500 leading global fashion and luxury brands, sustainability organisations, tech companies, fashion and business schools, investment funds and international governments.

A Global Gathering

Celebrating collaboration and innovation with the largest VR gathering in the Fashion industry (2021), our VR Circular Fashion Summit revolutionized the way we connect and engage. Attendees from around the globe converged in virtual spaces via the Meta Quest 2 VR headset, fostering meaningful interactions and sparking new ideas. Against the backdrop of the Grand Palais, visionaries and innovators in circular fashion convened to explore the forefront of sustainability and style. From virtual meet-ups to thought-provoking discussions on the CFS main stage, our summit united minds across mediums and continued the movement towards a more sustainable future in fashion.

Live Event Team

Celebrating collaboration and innovation with the largest VR gathering in the Fashion industry (2021), our VR Circular Fashion Summit revolutionized the way we connect and engage. Attendees from around the globe converged in virtual spaces via the Meta Quest 2 VR headset, fostering meaningful interactions and sparking new ideas. Against the backdrop of the Grand Palais, visionaries and innovators in circular fashion convened to explore the forefront of sustainability and style. From virtual meet-ups to thought-provoking discussions on the CFS main stage, our summit united minds across mediums and continued the movement towards a more sustainable future in fashion.

Building VR for Mobile

Celebrating collaboration and innovation with the largest VR gathering in the Fashion industry (2021), our VR Circular Fashion Summit revolutionized the way we connect and engage. Attendees from around the globe converged in virtual spaces via the Meta Quest 2 VR headset, fostering meaningful interactions and sparking new ideas. Against the backdrop of the Grand Palais, visionaries and innovators in circular fashion convened to explore the forefront of sustainability and style. From virtual meet-ups to thought-provoking discussions on the CFS main stage, our summit united minds across mediums and continued the movement towards a more sustainable future in fashion.

Credits
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Creative Direction - Lorenzo Albrighi, Eliana Kuo
Art Director - Luke Bubb
World Builder - Luke Bubb, Mathew Hermans,
Technical Director - Mathew Hermans
Unity Development - Luke Bubb
Unreal Engine Development - Luke Bubb

Partners
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Lablaco
Electric Lens Co.
Altspace
Unity
Grand Palais des Champs-Élysées

Project
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Circular Fashion Summit
(2022)
Virtual Reality Live Event

Category
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Design
Art Direction
World Building
Mocap Acting

Synopsis
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it has become the largest VR gathering in the Fashion industry, attended by more than 500 leading global fashion and luxury brands, sustainability organisations, tech companies, fashion and business schools, investment funds and international governments.

Art Direction

Celebrating collaboration and innovation with the largest VR gathering in the Fashion industry (2021), our VR Circular Fashion Summit revolutionized the way we connect and engage. Attendees from around the globe converged in virtual spaces via the Meta Quest 2 VR headset, fostering meaningful interactions and sparking new

Enviroment Design

Celebrating collaboration and innovation with the largest VR gathering in the Fashion industry (2021), our VR Circular Fashion Summit revolutionized the way we connect and engage. Attendees from around the globe converged in virtual spaces via the

World Building

Celebrating collaboration and innovation with the largest VR gathering in the Fashion industry (2021), our VR Circular Fashion Summit revolutionized the way we connect and engage. Attendees from around the globe converged in virtual spaces via the

Credits
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Creative Direction - Lorenzo Albrighi, Eliana Kuo
Art Director - Luke Bubb
World Builder - Luke Bubb
Character Artist - Gio Nakpil
Technical Director - Mathew Hermans
Unreal Engine Development - Luke Bubb

Partners
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Lablaco
Electric Lens Co.
Grand Palais des Champs-Élysées

Project
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Coral & I
(2017)
Virtual Reality Experience

Category
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Design
Art Direction
World Building

Synopsis
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We set out to use emerging technology to tell an important story, “Coral & I” takes viewers beneath the waves in what begins as an artistic wonderland of coral and sea creatures and ultimately aims to have people feel the impact of humans on the reef.

VR Painting a world

At the early onset of the modern virtual reality era, we set out to create our first VR experiment, it started with sketching in tilt brush with Virtual Reality, It grew into an experience that showed in Cannes then was selected to play at Kaleidoscope’s ‘First Look’ in Los Angeles and also picked up a research partner at the University of Sydney to extend its functionality into new territory.

Concert Visuals at the Opera House

Thrilled to have collaborated with the Electric Lens Co and the incredible Trinity for a mesmerizing DJ set outside the iconic Sydney Opera House for Vivid Sydney festival. We had the honor of creating the visuals that accompanied the beats, reworking our assets from Coral & I to create origional visuals for Trinity's 3 hour performance.

Credits
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Art Director - Luke Bubb
World Builder - Luke Bubb
Sound - Kevin O'Niel, Stuart Welch, Luke Bubb
Technical Director - Mathew Hermans
Animaitor - Benjamin Mattern
Unreal Engine Development - Luke Bubb, Mathew Hermans
Co-Produced J’aimee Skippon-Volke

Partners
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Byron Bay Film Festival
DJ Trinity

Project
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2040 / Regen Studios
(2018)
Film

Category
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Production Design
Previsualization
Digital Matte Painting

Synopsis
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Playing a pivotal role in the film's early stages, filming onset, into post production and continued colaboration with the outreach programs. We leveraging virtual reality with Unreal Engine to pre-visualise concepts and also craft the visual language of 2040's story world. '2040' transcends traditional documentary storytelling, offering a positive glimpse into the future of our world where innovative solutions have address today's global challenges while also implimenting aspects of transmedia with its outreach program.

Production Design

In my debut as '2040's production designer, the creative journey was anchored in the realms of virtual reality and Gravity Sketch. Backed by research and glimpses of potential future technologies, we skillfully navigated the sensitive landscape of sustainable designs, projecting our vision two decades into the future. One standout creation emerged as a personal favorite—the modular folding laptop. This innovative device, predominantly biodegradable with a unique hinge design housing critical components, embodied our commitment to a future where technology harmonizes seamlessly with the environment.Our imaginative journey extended into the realm of interactive technology, pushing the boundaries with thin, versatile, biodegradable screens and kid-friendly tablets. The film further ventured into reshaping urban mobility, introducing a sleek autonomous vehicle for inner-city travel and a slightly absurd yet intriguing credit card-sized smartphone capable of airborne filming and automated selfies.

Previsualization

Transitioning to the previsualization phase, a monumental challenge awaited—the transformation of colossal superhighways using insights from research teams. Envisioning raised hyperloops, solar-covered lanes, and vibrant community spaces, we embarked on the formidable task of redefining concrete expanses, striving to paint a sustainable and vibrant picture of the future.In this process, much of our vision was sketched out in virtual reality, exploring concepts and possibilities. When it came to rendering and simulating camera moves and lighting, Unreal Engine emerged as a crucial tool. We pre-visualized a futuristic Melbourne, Australia, two decades ahead, merging our onset location scan with Google Earth data. Unreal Engine played a pivotal role in shaping this vision, from designing architectural marvels like hyperloop stations to crafting unique elements. Asset creation followed a unique path, with many elements crafted in Gravity Sketch, seamlessly integrated into Unreal Engine before being handed over to post-production at Cumuls VFX.This distinctive process was repeated for the Marine Permaculture giant kelp scenes, where the synergy of VR sketching, asset creation, world-building, and cinematics in Unreal Engine created a unique pipeline for rapid prototyping and previs, becoming an integral part of bringing '2040' to life.

Credits
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Director - Damon Gameau
Production Design - Luke Bubb, Carrie Kennedy
Producers - Nick Batzias, Anna Kaplan, Damon Gameau, Virginia Whitwell
DOP - Hugh Miller
Post Production - Cumulus VFX
Unreal Engine - Luke Bubb

Partners
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Cumulus VFX
Good Thing Productions
Madman Entertainment

Project
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The Portable Door
(2021)
Film

Category
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Concept Art
Motion Graphics
Unreal Engine

Synopsis
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Had the pleasure of creating concept art and the titles for the lovely team on 'The portable Door.' A film following two lowly interns at J.W. Wells and Co., a mysterious firm based in London, uncover a plot by their CEO to disrupt an ancient magical world with modern corporate practices.

Terms and conditions

For "The Portable Door", I designed a green-screened computer boot-up sequence that establishes the film's central contract. This involved developing concept art, crafting the motion graphics animation in Unreal Engine, and integrating sound design elements to achieve a retro tech aesthetic.

the balance of Magic

I dove into the concept design for establishing a distinct visual language for the film's magical elements, visualizing the contrasting forces of good and evil that drive the narrative. From my initial explorations I created concept art for shots and sequences that guided the post production VFX. Additionally, I designed the holographic display used in the corporation's meeting room, which showed the villain's growing influence over the characters. Finally, I also created concepts for the look of the climactic doors sequence used in the final battle.

Credits
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Concept Artist - Luke Bubb

Project
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Prometheus
(2016)
Film

Category
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Concept Art
Concept Design
Motion Graphics

Synopsis
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Prometheus is a 2012 science fiction horror film co-produced and directed by Ridley Scott. The film explores a mysterious alien world and its connection to Earth's history. As the crew unravels the secrets of a distant planet, they encounter ancient civilizations and a powerful extraterrestrial force that challenges their understanding of existence. The journey becomes a perilous quest for answers, ultimately raising profound questions about the nature of life and its creation.As a conceptual artist on Prometheus, I had the once in a lifetime opportunity to envision the holographic technologies for the Engineers in the Alien franchise.

The Orrery Design

In the genesis of Prometheus, the design team, including myself, embarked on the conceptualization of the orrery—an intricate celestial map inspired by Ridley Scott's vision, frogspawn, and an old traditional orrery painting. Using boot-up sequence for exploration we collectively envisioned the orrery's operation and conceptualised its possible alien technology. Placing the orrery's focus at the center, with frogspan like spheres gracefully orbiting like bookmarked celestial bodies, and rings serving as both information groupings with star sytem DNA displays to seeding planets, our design still needed to be navigable within the larger cosmic web. Balancing the magical and utilitarian aspects, the orrery emerged as an alien yet user-friendly interface. My fortune was contributing key artworks during the design phase, marking a collaborative effort that shaped the visual identity of the Orrery.

A Design of the Universe

During the development of the Orrery, my focus turned to the intricate details: holographic planets, intricate ring systems, and floating cuneiform disks showcasing planetary information. The initial green design boldly shifted to blue. With obsessive attention to detail, I refined each visual element. This collaborative effort with FuelVFX resulted in a mesmerizing and functional piece of alien technology.

The control desk

While the larger Orrery design headed into the later stages of prodcution I focused on conceptualizing the orrery control desk. When exploring ideas, I found inspiration in the electromagnetic concept I was developing for the film's title design pitch and the clear goo technology featured in a scene with David. Focusing on the idea of wave dynamics and a hypothetical electromagnetic plasma technology, the plasma became an interactive interface for the Engineers, aiding them in orchestrating the orrery. This concept, rooted in the manipulation of electromagnetic waves, tied into the film's narrative, with the control desk initiated by the playing of a flute, embodying the wave dynamics of sound. Still I envision the same technology being utilized in the interaction between the Engineers' spacesuit helmets and the telescope navigation apparatus, a sort of brain interface seamlessly communicating via the plasma technology.

Ancient Recordings

In my role on the design team for Prometheus, I also focused on creating concept art for the Engineers' holographic recording seen in the orrery and cave sequences. The key challenge was determining the holograms technology and its look plus visually conveying the degradation of the footage, considering it had been dormant for hundreds of thousands of years. I developed three distinct design styles, each showcasing the organic decay of the holographic recording before it continued its design in 3D with the look dev team.

Pup lasers and Goo

For the laser design of the pup drone scanners I took on the challenge of visually creating the dynamic functionality of these lasers. The design showcases the spinning scan motion used to map the cave surfaces, tracing the contours with a pattern and illuminating any particles in the air.And for the goo David touches and investigates when intereacting with the engineers ships cuniegraph interfaces, I imagined its a sort of biotech electromagnetic plasma technology that was aligned in the design of the orrery's control desk plasma tech.

Title Design Pitch

Intrigued by the film's exploration of our origins and the quest for knowledge, I enthusiastically embraced the challenge of visually articulating these profound themes within the titles pitch for Prometheus. Drawing inspiration from the original film's concepts, I ventured into diverse ideas. One concept remained true to the original film titles, depicting a mesmerizing journey past the sun with its solar flares. Another delved into the microscopic wonders of ocean life evolving from the Engineers' DNA. From ancient cave paintings leading to lost relics to the symbolic transformation of dry earth clay into human forms, each idea aimed to evoke a sense of wonder surrounding our human origin story. This journey led me to settle on a typography I personally crafted, coupled with footage from an experiment featuring ferro fluid and magnets. Supported by carefully curated sound, this experiment produced a lively black goo with captivating visuals when defocused—little did I know that this would become a central theme in the film, adding an unexpected layer of connection to Prometheus's narrative.

Credits
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Director - Ridley Scott
VFX Producer - Jason Bath
VFX Supervisor - Paul Butterworth
VFX Design Lead - Brendan Savage
Concept Design - Luke Bubb, Brendan Savage, Andrei Jurdovich
3D Artists - Roy Malhi, Aevar Bjarnason
Prost Production - Fuel VFX

Realtime Photoreal Environments

In 2016, I supported Matthew Hermans and the Electric Lens Co. (ELC) in their pioneering work on high-fidelity PC virtual reality experiences. The experimental workflow blended photogrammetry and Houdini to optimize photoreal scanned environments, ensuring use in realtime VR within Unreal Engine 4.

Unreal Engine & VR

To create photorealistic VR environments, we combined layered photogrammetry details (foreground and mid-ground) with spherical matte paintings (backgrounds). This optimization strategy allowed us to showcase a car within a small, explorable space that maintained its immersive real-time 3D quality. Users experienced seamless parallax of the photoreal enviroment while navigating the playspace, significantly enhancing the virtual experience.

Environment capture

To rapidly create four photorealistic environments, we ventured to New Zealand's South Island. Our goal was to capture the essence of these breathtaking locations as photogrametry & reference assets. Utilizing aerial and ground-based photogrammetry, we diligently documented each site. We also gathered high-quality audio, video, and additional resources. This ensured we had a rich repository for building the virtual world.

Credits
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Concept Art - Luke Bubb
Motion Graphics - Luke Bubb
Unreal Engine Development - Mathew Hermans
Photogrammetry / Field Recordings - Mathew Hermans, Luke Bubb
Digital Matte Painting - Luke Bubb

The Machine Camera

Using the photography from the exhibit "Time Tunnel," we ventured into the realm of machine learning, utilizing AI to comprehend the vast collection of landscapes and texts captured by Mr. Kakimoto before the upheaval of the COVID-19 pandemic and the ensuing social changes. Through AI training, we generated morphing 'latent walks,' giving birth to a series of new artworks. These algorithmically crafted pieces took center stage, adorning oversized light boxes across various galleries and serving as a captivating outdoor installation during the Tokyo Olympics. The immersive experience extended to 'Gallery X,' where we orchestrated an interactive installation using the morphing footage in TouchDesigner, coupled with visual/sound interactions, providing audiences with a tactile and engaging encounter.

VR, AI & the Kiyomizu-dera Temple

To realize Kensku's vision for "TRANSFORMATION," I used AI to generate many artworks but got the virtual gallery we tried taking vintage cartoon characters and generating new memories from them, followed by a detailed 3D sculpting process in VR. These sculpted characters were showcased in a VR/web-accessible virtual gallery I created for the digital version of the live event. For the Kiyomizu-dera Temple installation, Piotr Stopniac & I adapted the artworks by layering them over a 3D model of the main deity. Kensaku had these layers printed on transparent film, resulting in a semi transparent illuminated display titled "KAN-NON," honoring the Eleven-headed Thousand-armed Kannon Bodhisattva.

Credits
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Lead Artist - Kensaku Kakimoto
Artists - Luke Bubb, Piotr Stopniac
Producer - Takeshi Takada, Mai Fukuda

Concept Design

My role in Concept Art and Design revolved around researching and envisioning the future of technology, with a particular focus on drones, farming vehicles, irrigators, and farm robots. I also experiemented with motion concepts, creating a dynamic scene of an irrigator in Unreal Engine. Additionally, I contributed to shaping the hologram section, animating crucial steps to enhance the narrative.

Digital Matte Painting

In the realm of Digital Matte Painting, my focus was set extensions for various shots, most notably the beach shipwrecked container ship sequence. This involved meticulously building out the surrounding mountains, crafting expansive skyscapes, and detailing the wreckage of the ship. Each stroke contributed to the creation of a compelling visual backdrop, seamlessly integrating digital elements into live-action scenes for a captivating cinematic experience.

Credits
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Concept Art - Luke Bubb
Digital Matte Painting - Luke Bubb

The tide of war

Had a lot of fun building out the city and creating a rapid prototype for the pitching aspect of the Battletide project. Although in its early stages we could see the potential for a great story world and ultimately an exciting PVP dropship game. Essentialy a war between two factions in mega ships above is played out in the city below with strategic tasks around the map. Supported by a team specialists and transported by the players dropship you determine which faction wins.

Credits
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Cinematics - Luke Bubb
Unreal Engine Development - Dominic Crisci, Craig Bentick

Meteor Impact

Designing the look / effects of the meteorite impact across the sequences with concept art and digital matte paintings for AltVFX post production studio on this fast turn around TVC.

Credits
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Post Production - AltVFX
Concept Art - Luke Bubb
Digital Matte Painting - Luke Bubb

A Mundane world

In the initial stages of crafting the Honda Square TVC, my role involved breathing life into the concept. Creating concept art and designs aimed at redefining the sleek lines of the environment, the vehicles, and the architecture to shape the square world. Each design was a deliberate effort to inject mundane'ness into the once normal cityscape, transforming it into a very square world.

The Square Aesthetic

Working at AltVFX, the challenge went beyond the concept stage, requiring the translation into digital matte paintings. From intricately designed environments to the subtleties of road signs and skateparks, each element bore the distinctive mark of the square aesthetic.

Credits
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Post Production - AltVFX
Concept Art - Luke Bubb
Digital Matte Painting - Luke Bubb

Detail at scale

The stage on which the artworks story unfolds is a fictive landscape; part hyperreal dreamscape, part secluded coast. They fight, they cry, they flee imperceptible threats.The work’s title, The golden hour, refers to the transitory moment in which day slips into night. It is a time when the sky changes colour and the landscape begins to glow, just as it does in Tiatia’s work. Here, the golden hour is not just a timestamp, it is an allegory. We are, all of us, caught in the midst of transition and on the cusp of great change. The world feels as if it’s on a precipice, socially, environmentally and politically. But does this moment hold promise, or is it laced with fear?

Angela's Dreamscape

The stage on which the artworks story unfolds is a fictive landscape; part hyperreal dreamscape, part secluded coast. They fight, they cry, they flee imperceptible threats.The work’s title, The golden hour, refers to the transitory moment in which day slips into night. It is a time when the sky changes colour and the landscape begins to glow, just as it does in Tiatia’s work. Here, the golden hour is not just a timestamp, it is an allegory. We are, all of us, caught in the midst of transition and on the cusp of great change. The world feels as if it’s on a precipice, socially, environmentally and politically. But does this moment hold promise, or is it laced with fear?

Credits
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Artist - Angela Taitai
Digital Matte Painting - Luke Bubb

Building for Web VR

Teaming up with Dominic Allen from ReddogsVR to built out the creative vision then I pre-visualised the concept in unreal engine, once approved I rebuilt + optimized the worlds assets for Patrik Huebner to re-assemble & depoly the online experience. It was truly great fun learning and creating this online education experience, celebrating indigenous dance and song from the traditional to the contemporary.

Credits
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Director - Dominic Allen
Art Direction + World Building - Luke Bubb
Web Develoment - Patrik Huebner

Concept Art in motion

Working with Blockhead VFX, our journey with the Penfolds wine commercial began as a concept art assignment. However, as the creative process unfolded, it transitioned from static concepts into more 3D look development with blocking of cinematics and basic narrative animations.

Cardboard Style

Originally intended for creating still images, the project evolved iteratively through various development stages, utilizing Gravity Sketch for modeling and Unreal Engine for look development. The ability to sketch in VR proved invaluable, particularly for achieving the stylized "hand-made" cardboard feel. This immersive approach facilitated rapid prototyping and allowed the design to evolve organically, responding to Blockhead's feedback along the way.

Credits
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Previs / Concept Art - Luke Bubb
Post Production - Blockhead VFX