First days of the year are perfect time for looking back. 2016 has ended. It was supposed to be the year of virtual reality. It kinda was, but mostly it wasn’t. Yes, there were three major releases of high-end devices with Oculus Rift, HTC Vive and Sony Playstation VR. But the medium didn’t actually penetrate the mainstream. I see few different reasons that can be summed up with the formula: The explanation of this lousy formula would sound something like:
On one side, there are the roars of military equipment, the screeching of tank tracks, hectic shooting, and the cold as steel eyes of the Soviet paratroopers; on the other side, there are patriotic Lithuanian songs, shouts of encouragement, and silent interlocking hands to create a protective shield of human bodies. That’s the setting of the biggest VR project I’ve been working on since May. It will bring the user to the area of Vilnius TV tower on the night
That’s the main question while shooting 360 videos: »Where to put it?« I mean the camera, of course. Because in cinematic VR you don’t zoom, pan, slide, or frame, the traditional cinema language is useless. Your frame is everywhere around you – all 360 degrees of the world. And if your camera is moving, you have to find a reason for it move in your storytelling. Because if a cameraman is carrying or pushing the camera, he is in your
Two weeks ago, I was shooting a making-of in 360 of the film workshop »Summer Media Studio 2016: Interactive Dance in Film.« The concept was to place the viewer into the film set of eight film crews with the help of Cinematic VR. In cinema, a making-of – also known as a »behind-the-scenes« or »on-set« – is a documentary film that features the production of a film or television program. After my experience of filming it in 360, I can
Last week, I was in Barcelona attending Cartoon 360, a pitching event for animated transmedia projects. Virtual reality (VR) as well as augmented reality (AR) were one of the hot topics and themes both in the pitched projects and keynote presentations. As animation might be the most beautiful flower in the bouquet of VR possibilities, I was curious to hear how producers and creators are including VR elements in the projects that will be launched in two to three years.
I tried VR for the first time a year ago at the i_doc workshop in Nyon/Switzerland during the Visions du Réel film festival. Now fast forward to today: I have my own headset, 360 camera, and probably all the possible VR related apps on my smartphone. I’m working on a huge interactive animated VR project commissioned by the Lithuanian Film Center as well as a few smaller personal projects. To stay on the fast moving Wild West of the emerging