STORYTELLING IN VR:
The scene above is from the upcoming VR film “Dirrogate:DeepVR”. A pseudo-script excerpt might read somewhat like this:
Ext. Dan’s Apt, Terrace, Night.
(ambiance: city sounds, a police siren wails in the distance)
We look at Maya through Dan’s perspective, sitting on one of the sun loungers on the terrace.
Above, is the by-the-book definition of Virtual Reality.
Thus, by default, VR is associated with a polygon rendered world, that inserts the audience or participant in and gives them tools to interact with this world. One camp of VR professionals believe this leaves no scope for mere ‘spherical video’ whether 4k or 8k or however ‘realistic’ to be called VR, even if said video is a faithful recording and visual representation of the real world or an imaginary one. Even if displayed using the same display device that polygon based VR worlds use (HMD or Wraparound projection screen or C.A.V.E)
After all – these professionals argue [...]
(above: screengrab from The North Face: Climb. © Jaunt Inc. – used for educational/critique only)
Following on from the first Cinematic VR critique paper, the document below is another critique of the current state of the art in production of Cinematic 3d-360 VR films.
Disclaimer: This document is for educational purposes only and is based off observations from a less than ideal evaluation platform (screen grabs from an android phablet – the platform that the video was made for). Any insights gleaned should be taken as seed ideas only, to extrapolate and learn from.
Download the document here: Cinematic VR : Jaunt_north_face_critique
Recently there was an interesting discussion on Facebook’s 360 filmmakers forum – Yes, Facebook is not about selfies anymore. It was about the history of VR cinematography, (a compelling read), but it quickly came down to one point – the pros and cons of 2D 360 versus 3D 360.
Comparing 2D 360 to S3D 360: