How long this will take to reach consumers on a large scale is the key question. In all, we’re going to see some incredible, transformative technology incorporated into entertainment inside and outside the home. Looking even further ahead, a VR premium experience complete with lifelike HD resolution, haptic (touch/feel) feedback, 4D effects and comfortable, swivelling chairs could be something forward-thinking cinemas invest in. High-resolution headsets at affordable prices represent a real chance for cinemas to benefit from and monetise recent advancements before VR becomes a household product. Will consumers want wind and water blown in their faces on a typical trip to the cinema, or will these extras remain a novelty reserved for science centres and theme parks? Whether we’ll see a return to the oft-ridiculed 4D effects (wind, rain, vibration and so on) is another question that’s likely to remain unanswered in the near future. The potential this has for the horror film genre is immense. Notable entries to the VR horror genre include 11:57 and Affected. It’s also worth noting that VR games and experiences in the horror category are proving immensely popular. The show itself looks to be somewhere between a ballet, art installation and documentary. While the technology is looking like it’s more augmented reality (AR) than VR, it’s a complimentary technology that could lead the way for stage-based performances. London-based Framestore, for example, is currently at work on The Age Of Starlight, an experiential show made exclusively for the Manchester International Festival in collaboration with scientist Brian Cox. While the big Hollywood studios will still primarily decide what we get to watch, a handful of British tech companies are among those developing VR options. With the recent $28m (£18.5m) investment into VR films, games and TV tech startup Jaunt from the likes of BSkyB and Google Ventures, it’s clear something big is afoot.Ĭinemas will inevitably need to respond. The news follows Fox Searchlight Pictures’ launch of a three-minute, 360-degree VR movie experience of 2014 film Wild. The announcement, made at this week’s Sundance Film Festival, will involve the release of its first movie, Lost – as well as providing VR advice and expertise to film-makers seeking to try the technology. On the other side of the equation, film-makers were able to more quickly make emotional connections with viewers – and their impact last longer.īut the big news is that Oculus (owned by Facebook) how now decided the time is right to get into VR film-making by launching the Oculus Story Studio. Attendees at last year’s 3D Film Festival in Los Angeles were effectively “surrounded” by the film, getting (and feeling) closer to the action and its narrative. While originally designed for the gaming community, they represent a quantum shift in technology that’s already changing expectations and experiences of going to the cinema. We’re already seeing huge changes to consumer technology as a result of affordable VR headsets such as Oculus Rift and the Samsung Gear VR: Innovator Edition. It’s now common for filmgoers to enjoy advanced digital 3D and 4K projections, complete with 7.1 surround sound.īut today’s digitally-savvy consumers want more – as do the film-makers. While home entertainment systems have improved considerably in recent years, the cinema industry has also upped its game. It’s a social experience you simply can’t get at home.
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