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==Introduction== | ==Introduction== | ||
VR cinema ([[virtual reality]] cinema) is filmmaking adapted to the new media of virtual reality. It has the potential to be the next major innovation in filmmaking following the previous developments in sound, color, and 3D <ref name=”1”> Cuthbertson, A. (2016). Is virtual reality the future of film? Retrieved from europe.newsweek.com/virtual-reality-future-film-461829?rm=eu</ref>. Even though VR was expected to impact mainly videogames, the technology is intriguing and attracting filmmakers all over the world. VR cinema holds the promise of new and better ways of experiencing stories, to immerse the user in a story by utilizing interactivity and non-linearity | VR cinema ([[virtual reality]] cinema) is filmmaking adapted to the new media of virtual reality. It has the potential to be the next major innovation in filmmaking following the previous developments in sound, color, and 3D <ref name=”1”> Cuthbertson, A. (2016). Is virtual reality the future of film? Retrieved from europe.newsweek.com/virtual-reality-future-film-461829?rm=eu</ref>. Even though VR was expected to impact mainly videogames, the technology is intriguing and attracting filmmakers all over the world. VR cinema holds the promise of new and better ways of experiencing stories, to immerse the user in a story by utilizing interactivity and non-linearity, that are new techniques to cinema, and to increase the story’s emotional impact. The potential for greater immersion can be achieved by making the user believe to be present in the space the protagonist is in. VR headsets like the [[Oculus Rift]] or [[Google Cardboard|Google cardboard]] provide 360° panorama for the user to explore. To increase the story’s emotional impact, the user will be able to experience the journey of the protagonist, while also being able to change perspectives and putting himself in the shoes of another individual <ref name=”2”> Nellen, G. (2015). Lessons learned: a guide to cinema in virtual reality. Retrieved from hackastory.com/lessons-learned-a-guide-to-cinema-in-virtual-reality</ref> <ref name=”3”> VR Reporter. Will cinematic virtual reality disrupt film industry? Retrieved from virtualrealityreporter.com/virtual-reality-cinema</ref>. | ||
The approach to cinema in VR has to be completely new from traditional filmmaking. For example, script writing will have to change when applied to VR cinema due to the different nature of the medium. It has been suggested that the role of the director will change more to one of a designer. Although it is expected that VR cinema will have a great development during the next few years, it doesn’t mean that traditional film on a movie screen will disappear. The different media will co-exist, and film directors will make the choice to experiment with the new tools and skills required for virtual reality, creating a potential niche opportunity for filmmakers and new production companies. Indeed, startups like Jaunt and MindVR are already exploring storytelling in virtual reality <ref name=”2”></ref> <ref name=”3”></ref>. | The approach to cinema in VR has to be completely new from traditional filmmaking. For example, script writing will have to change when applied to VR cinema due to the different nature of the medium. It has been suggested that the role of the director will change more to one of a designer. Although it is expected that VR cinema will have a great development during the next few years, it doesn’t mean that traditional film on a movie screen will disappear. The different media will co-exist, and film directors will make the choice to experiment with the new tools and skills required for virtual reality, creating a potential niche opportunity for filmmakers and new production companies. Indeed, startups like Jaunt and MindVR are already exploring storytelling in virtual reality <ref name=”2”></ref> <ref name=”3”></ref>. | ||
Filmmaking in VR can be made several ways: live action films, computer-generated (CG) films, animation films, or a combination of live action and CG/animation films. Some of the mentioned ways of filmmaking in VR will be more advantageous. The incorporation of interactive and non-linear elements is easier in CG films than in live action, although it could be that, over time, there will be technical and creative solutions to introduce a high degree of interactivity in live action films <ref name=”2”></ref> <ref name=”4”> Nield, D. (2015). The brave new world of virtual reality filmmaking. Retrieved from readwrite.com/2015/06/25/virtual-reality-movie-making</ref>. The possibility of the user being able to be someplace else in VR | Filmmaking in VR can be made several ways: live action films, computer-generated (CG) films, animation films, or a combination of live action and CG/animation films. Some of the mentioned ways of filmmaking in VR will be more advantageous. The incorporation of interactive and non-linear elements is easier in CG films than in live action, although it could be that, over time, there will be technical and creative solutions to introduce a high degree of interactivity in live action films <ref name=”2”></ref> <ref name=”4”> Nield, D. (2015). The brave new world of virtual reality filmmaking. Retrieved from readwrite.com/2015/06/25/virtual-reality-movie-making</ref>. The possibility of the user being able to be someplace else in VR, to be in the film, instead of a raditional film which is confined to movie theatres, allows for a greater sense of “[[presence]]” <ref name=”5”> Rasmus, D. (2016). Cinematic VR challenge shows how virtual reality is set to transform film. Retrieved from www.geekwire.com/2016/cinematic-vr-challenge-shows-virtual-reality-poised-transform-film/</ref>. These new characteristics of cinematic VR will possibly lead to a shift in the dynamic between the audience and the director. According to Heather Wright, an executive producer at Aardman Animations, “storytellers of the filmmaking variety traditionally like to lead the viewer on a journey which is predetermined for them. With VR, viewers are essentially being let loose in a story to explore it for themselves. This requires a whole new film grammar which is certainly exciting but does turn the tables on the filmmakers <ref name=”1”></ref>.” | ||
Even though VR cinema is still early in the development some general rules have been suggested by [[Oculus Story Studio]]’s creative director Saschka Unseld | Even though VR cinema is still early in the development some general rules have been suggested by [[Oculus Story Studio]]’s creative director Saschka Unseld, that were used for Henry (an animated VR short), in order to produce a VR film. These are: “make eye contact”, for the user to have a direct connection with the character; “show the viewer around”, adding elements to draw the viewer’s eyes to different places they can look and explore; “pay attention to scale”, since not all objects sizes are in real-world ratios; “get it real but not too real”, in order to transmit through visuals certain points in the story; “don’t overload your rendering machines”, to use techniques that reduce the computational burden, and “focus on movement that matters”, adjusting to the viewer’s perspective when necessary <ref> Watercutter, A. (2015). 6 rules for making movies in the VR age. Retrieved from www.wired.com/2015/08/6-rules-making-movies-vr-age</ref>. | ||
The success of cinematic VR in capturing the mainstream audiences will depend on the quality of storytellers and producers that it can attract <ref name=”1”></ref>. Penrose Studios, responsible for the animated VR short “Allumette”, said that “VR movies are a new art form, wholly different from cinema, the stage play or the opera that came before <ref name=”7”> Weisberger, M. (2016). VR at Cannes: how will virtual reality change film? Retrieved from www.livescience.com/54820-vr-films-at-cannes-film-festival.html</ref>." The novelty of the technology and filmmaking VR methods may lead to the fact that, in the immediate future, the focus will probably be in large, two dimensional screens within a simulated 3D space. A VR movie theater in which the viewer will watch the movies of his choice that could be a stepping stone to the proper and novel VR cinema format <ref name=”8”> Kane, A. (2016). The search for the Spielberg of VR. Retrieved from versions.killscreen.com/search-spielberg-vr</ref>. | The success of cinematic VR in capturing the mainstream audiences will depend on the quality of storytellers and producers that it can attract <ref name=”1”></ref>. Penrose Studios, responsible for the animated VR short “Allumette”, said that “VR movies are a new art form, wholly different from cinema, the stage play or the opera that came before <ref name=”7”> Weisberger, M. (2016). VR at Cannes: how will virtual reality change film? Retrieved from www.livescience.com/54820-vr-films-at-cannes-film-festival.html</ref>." The novelty of the technology and filmmaking VR methods may lead to the fact that, in the immediate future, the focus will probably be in large, two dimensional screens within a simulated 3D space. A VR movie theater in which the viewer will watch the movies of his choice that could be a stepping stone to the proper and novel VR cinema format <ref name=”8”> Kane, A. (2016). The search for the Spielberg of VR. Retrieved from versions.killscreen.com/search-spielberg-vr</ref>. | ||
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==State of development== | ==State of development== | ||
VR cinema is still in the early stages of development, in need of projects that will inspire an early adopter fan base that would have enough impact to eventually become accessible to a wider audience. According to Ran Mo, co-founder of a pop-up VR cinema (Vivid) in Toronto, "everyone is trying to discover the way we tell stories in VR and no one has really figured it out | VR cinema is still in the early stages of development, in need of projects that will inspire an early adopter fan base that would have enough impact to eventually become accessible to a wider audience. According to Ran Mo, co-founder of a pop-up VR cinema (Vivid) in Toronto, "everyone is trying to discover the way we tell stories in VR and no one has really figured it out, not even the major studios at this point, so everyone is at a learning stage <ref name=”3”></ref> <ref> Wong, J. (2016). Virtual reality: future of filmmaking or cinema’s latest gimmick? Retrieved from www.cbc.ca/news/entertainment/tiff-virtual-reality-filmmaking-1.3763778</ref>." As the VR technology develops, filmmakers will have to work out new approaches to develop and express their ideas in this new medium. Movie making is an industry that is ripe for VR. If done right, it could capture the imagination of the audiences, being an essential player in the success of virtual reality as a whole. Gaming is a multibillion dollar industry, but it can still be considered a niche when set side by side to the potential audiences who watch videos in the media-obsessed culture of the present days <ref name=”4”></ref>. | ||
Jessica Brillhart, principal filmmaker for VR at Google, said that “it goes beyond headsets. It’s cameras, it’s [development kits], it’s other folks who are making this stuff, who are coming together frequently and talking about it. Sharing what we’ve made, experiencing what folks are making, and then thinking about what else might be possible. Having an open dialogue about that.” The shared pursuit of this uncharted territory, of developing techniques for a new art form, is bringing together artists and creators from different industries to push forward a new mode of human experience, although movie executives might ask if it will catch the imagination of the public <ref name=”8”></ref> <ref> Page, D. (2015). How virtual reality will change the cinematic experience. Retrieved from www.theguardian.com/culture-professionals-network/2015/jan/30/virtual-reality-cinema-experience-vr</ref>. | Jessica Brillhart, principal filmmaker for VR at Google, said that “it goes beyond headsets. It’s cameras, it’s [development kits], it’s other folks who are making this stuff, who are coming together frequently and talking about it. Sharing what we’ve made, experiencing what folks are making, and then thinking about what else might be possible. Having an open dialogue about that.” The shared pursuit of this uncharted territory, of developing techniques for a new art form, is bringing together artists and creators from different industries to push forward a new mode of human experience, although movie executives might ask if it will catch the imagination of the public <ref name=”8”></ref> <ref> Page, D. (2015). How virtual reality will change the cinematic experience. Retrieved from www.theguardian.com/culture-professionals-network/2015/jan/30/virtual-reality-cinema-experience-vr</ref>. | ||
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Editing and cutting films in VR is a challenge due to the lack of it. VR filmmakers need to adjust to this just like the early filmmakers had to develop their art form. The lack of cuts in VR films means that they need to take place closer to real time, even though one can try to overcome that with a little ingenuity <ref name=”11”></ref>. There have been suggestions that it is possible to have cuts in a 360° film. This was showcased in a VR short called “The Mutiny”, where a scene in which a pirate knocks the other down shifts to a different angle, rotating the world around the pirate that is on the floor. It is kind of analogous to the effect of when holding a pen and looking at it directly, one moves the head to the right while keeping the eyes focused on the object. This technique is not a perfect solution to the problem of cuts, but it serves as a future option for VR filmmakers to explore <ref name=”13”></ref>. | Editing and cutting films in VR is a challenge due to the lack of it. VR filmmakers need to adjust to this just like the early filmmakers had to develop their art form. The lack of cuts in VR films means that they need to take place closer to real time, even though one can try to overcome that with a little ingenuity <ref name=”11”></ref>. There have been suggestions that it is possible to have cuts in a 360° film. This was showcased in a VR short called “The Mutiny”, where a scene in which a pirate knocks the other down shifts to a different angle, rotating the world around the pirate that is on the floor. It is kind of analogous to the effect of when holding a pen and looking at it directly, one moves the head to the right while keeping the eyes focused on the object. This technique is not a perfect solution to the problem of cuts, but it serves as a future option for VR filmmakers to explore <ref name=”13”></ref>. | ||
Besides this, there is the hurdle of the huge amount of data involved in VR cinema, due to the rendering process and content delivery for example. The capture, post-production of the content, and the delivery | Besides this, there is the hurdle of the huge amount of data involved in VR cinema, due to the rendering process and content delivery for example. The capture, post-production of the content, and the delivery, even in a short VR film the amount of data is huge, are harder processes when compared to traditional cinema <ref name=”15”> Franklin-Wallis, O. (2016). Virtual reality will transform cinema in 2016. Retrieved from www.wired.co.uk/article/virtual-reality-breaks-fourth-wall</ref>. | ||
Shooting a live-action VR film can feel more natural to the eyes than a CGI one, but it introduces other complications. VR cameras shoot 360 degrees, making it difficult for crew members to stand without being in the shot. A way to get around this - that has been previously used - is to hide behind crates, or in the shadows. Also, lighting has to be natural or at least disguised. Besides this, the footage needs to be edited from 16 lenses (in the case of Jaunt’s camera) into one image. The stitching of the several images from different cameras to produce a 360° image is a lengthy process, with each second of footage taking 15 seconds to stitch <ref name=”11”></ref>. | Shooting a live-action VR film can feel more natural to the eyes than a CGI one, but it introduces other complications. VR cameras shoot 360 degrees, making it difficult for crew members to stand without being in the shot. A way to get around this - that has been previously used - is to hide behind crates, or in the shadows. Also, lighting has to be natural or at least disguised. Besides this, the footage needs to be edited from 16 lenses (in the case of Jaunt’s camera) into one image. The stitching of the several images from different cameras to produce a 360° image is a lengthy process, with each second of footage taking 15 seconds to stitch <ref name=”11”></ref>. | ||
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*[[Invasion!]] | *[[Invasion!]] | ||
*[[Jakku Spy]] | *[[Jakku Spy]] | ||
*[[Jesus VR | *[[Jesus VR - The Story of Christ]] | ||
*[[Jetleg]] | *[[Jetleg]] | ||
*[[Lost]] | *[[Lost]] | ||