![]() His answers were filmed on the ICT LightStage that also recorded a full 3D video of him. ![]() In order to populate the AI, Pinchas was asked two thousand questions about his experiences. The ICT at USC has produced a prototype of a virtual conversation with the holocaust survivor, Pinchas Gutter ( Video). There’s not a compelling enough reason to move from the TV to the headset in this case. VisionaryVR has come up with a partial solution to the problem, using smart zones in the VR world to guide viewing and controlling the play of content, but story is still in its old form. If storytelling is going to work in VR, creatives need to make a radical paradigm shift in how story is approached. The wearable is much more than just a camera and joystick, it’s also a recording device for what the viewer is doing and experiencing. But there’s an elephant in the room that Cameron is not considering: the VR wearable is smart. He’s correct, and as long as the technology stays that way, VR story will be no different than gaming. When the viewer is given this power, as James Cameron points out, the experience becomes a gaming environment, which calls for a different method to create story.Ĭameron argues that cinematic storytelling can’t work in VR: it’s simply a gaming environment with the goggles replacing the POV camera and joystick. ![]() VR technology is beckoning storytellers to evolve, but there’s one fundamental problem standing in the way: the audience is now in control of the camera. As a recent cover story from Time reported, gaming and cinema story practices don’t work in virtual reality. If VR is to be used as a platform for story, it’s going to have to overcome some major problems. Like film over a century ago, VR is facing unknown territory and needs creative vision balanced with hard testing. Through much trial and error, film matured into its own discipline. After decades of experimentation, filmmakers discovered more and more about what they could do with the camera, lighting, editing, sound, and special effects, and how a story could be better told as a result. When the first filmmakers were experimenting with shooting a story, they couldn’t foresee using the many creative camera angles that are used today: the films more resembled watching a play. Telling a story to teach an idea, it has been argued, is the most fundamental technology for social progress. But most of all, I love story because of its capacity to teach. I love the archetypal form of the written story, the many compositional techniques to achieve a visual story, and using layers of association to tell story with sound. I love story, it’s why I got into filmmaking.
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