The Drones’ primary task is to patrol the surface for threats, then eliminate those threats. The drones are always on guard, responding swiftly and violently against anything they do perceive as a threat.
During his day-to-day maintenance, Jack often encounters active drones. Initially, the drones always regard him as a threat, and offer him a brief window of time speak his name and tech number (for example, “Jack, Tech 49”) to authenticate. The drone then compares this speech against some database, shown on their HUD as a zoomed-in image of Jack’s mouth and a vocal frequency.
Occasionally, we see that Jack’s identification doesn’t immediately work. In those cases, he’s given a second chance by the drone to confirm his identity. Continue reading →
There is one display on the bike to discuss, some audio features, and a whole lot of things missing.
The bike display is a small screen near the front of the handlebars that displays a limited set of information to Jack as he’s riding. It is seen used as a radar system. The display is circular, with main content in the middle, a turquoise sweep, and a turquoise ring just inside the bezel. We never see Jack touch the screen, but we do see him work a small, unlabeled knob at the bottom left of the bike’s plates. It is not obvious what this knob does, but Jack does fiddle with it. Continue reading →
Jack lands in a ruined stadium to do some repairs on a fallen drone. After he’s done, the drone takes a while to reboot, so while he waits, Jack’s mind drifts to the stadium and the memories he has of it.
Present information as it might be shared
Vika was in comms with Jack when she notices the alarm signal from the desktop interface. Her screen displays an all-caps red overlay reading ALERT, and a diamond overlaying the unidentified object careening toward him. She yells, “Contact! Left contact!” at Jack.
As Jack hears Vika’s warning, he turns to look drawing his pistol reflexively as he crouches. While the weapon is loading he notices that the cause of the warning was just a small, not-so-hostile dog. Continue reading →
Each drone is a semi-autonomous flying robot armed with large cannons, heavy armor, and a wide array of sensor systems. When in flight mode, the weapon arms retract. The arms extend when the drone senses a threat.
Each drone is identical in make and temperament, distinguishable only by large white numbers on its “face”. The armored shell is about a meter in diameter (just smaller than Jack). Internal power is supplied by a small battery-like device that contains enough energy to start a nuclear explosion inside of a sky-scraper-sized hydrogen distiller. It is not obvious whether the weapons are energy or projectile-based.
The Drone Interface is a HUD that shows the drone’s vision and secondary information about its decision making process. The HUD appears on all video from the Drone’s primary camera. Labels appear in legible human English.
Video feeds from the drone can be in one of several modes that vary according to what kind of searching the drone is doing. We never see the drone use more than one mode at once. These modes include visual spectrum, thermal imaging, and a special ‘tracking’ mode used to follow Jack’s bio signature.
Occasionally, we also see the Drone’s primary objective on the HUD. These include an overlay on the main view that says “TERMINATE” or “CLEAR”.
One notable hybrid interface device, with both physical and digital aspects, is the Drone Programmer. It is used to encode key tasks or functions into the drone. Note that it is seen only briefly—so we’re going off very little information. It facilitates a crucial low-level reprogramming of Drone 172.
This device is a handheld item, grasped on the left, approximately 3 times as wide as it is tall. Several physical buttons are present, but are unused in the film: aside from grasping, all interaction is done through use of a small touchscreen with enough sensitivity to capture fingertip taps on very small elements.
Jack uses the Programmer while the drone is disabled. When he pulls the cord out of the drone, the drone restarts and immediately begins to try and move/understand its surroundings.
When Drone 172 is released from the Programmer cable, it is in a docile and inert state…
After following a beacon signal, Jack makes his way through an abandoned building, tracking the source. At one point he stops by a box on the wall, as he sees a couple of cables coming out from the inside of it, and cautiously opens it.
I can’t talk much about interactions on this one given that he does not do much with it. But I guess readers might be interested to know about the actual prop used in the movie, so after zooming in on a screen capture and a bit of help from Google I found the actual radio.
When Jack opens the box he finds the repeater device inside. He realizes that it’s connected to the building structure, using it as an antenna, and over their audio connection asks Vika to decrypt the signal.
The desktop interface
Although this sequence centers around the transmission from the repeater, most of the interactions take place on Vika’s desktop interface. A modal window on the display shows her two slightly different waveforms that overlap one another. But it’s not clear at all why the display shows two signals instead of just one, let aside what the second signal means.
After Jack identifies it as a repeater and asks her to decrypt the signal, Vika touches a DECODE button on her screen. With a flourish of orange and white, the display changes to reveal a new panel of information, providing a LATITUDE INPUT and LONGITUDE INPUT, which eventually resolve to 41.146576 -73.975739. (Which, for the curious, resolves to Stelfer Trading Company in Fairfield, Connecticut here on Earth. Hi, M. Stelfer!) Vika says, “It’s a set of coordinates. Grid 17. It’s a goddamn homing beacon.”
At the control tower Vika was already tracking the signal through her desktop interface. As she hears Jack’s request, she presses the decrypt button at the top of the signal window to start the process.
On each of the sleep pods in which the Odyssey crew sleep, there is a display for monitoring the health of the sleeper. It includes some biometric charts, measurements, a body location indicator, and a countdown timer. This post focuses on that timer.
To show the remaining time of until waking Julia, the pod’s display prompts a countdown that shows hours, minutes and seconds. It shows in red the final seconds while also beeping for every second. It pops-up over the monitoring interface.
Julia’s timer reaches 0:00:01.
The thing with pop-ups
We all know how it goes with pop-ups—pop-ups are bad and you should feel bad for using them. Well, in this case it could actually be not that bad.
Although the sleep pod display’s main function is to show biometric data of the sleeper, the system prompts a popup to show the remaining time until the sleeper wakes up. And while the display has some degree of redundancy to show the data—i.e. heart rate in graphics and numbers— the design of the countdown brings two downsides for the viewer.
Position: it’s placed right in the middle of the screen.
Size: it’s roughly a quarter of the whole size of the display
Between the two, it partially covers both the pulse graphics and the numbers, which can be vital, i.e. life threatening—information of use to the viewer. Continue reading →
The TETVision display is the only display Vika is shown interacting with directly—using gestures and controls—whereas the other screens on the desktop seem to be informational only. This screen is broken up into three main sections:
The left side panel
The main map area
The right side panel
The left side panel
The communications status is at the top of the left side panel and shows Vika the status of whether the desktop is online or offline with the TET as it orbits the Earth. Directly underneath this is the video communications feed for Sally.
Beneath Sally’s video feed is the map legend section, which serves the dual purposes of providing data transfer to the TET and to the Bubbleship as well as a simple legend for the icons used on the map.
The communications controls, which are at the bottom of the left side panel, allow Vika to toggle the audio communications with Jack and with Sally. Continue reading →
The TET is far enough away from Earth that the crew goes into suspended animation for the initial travel to it. This initial travel is either automated or controlled from Earth. After waking up, the crew speak conversationally with their mission controller Sally.
This conversation between Jack, Vika, and [actual human] Sally happens over a small 2d video communication system. The panel in the middle of the Odyssey’s control panel shows Sally and a small section of Mission Control, presumably back on Earth. Sally confirms with Jack that the readings Earth is getting from the Odyssey remotely are what is actually happening on site.
Soon after, mission control is able to respond immediately to Jack’s initial OMS burn and let him know that he is over-stressing the ship trying to escape the TET. Jack is then able to make adjustments (cut thrust) before the stress damages the Odyssey.
Communication between Odyssey and the Earth happens in real-time. When you look at the science of it all, this is more than a little surprising. Continue reading →