He is based in NY.VR SBS - Kanojo VR Girlfriend in the room Video for HTC Vive K B T Channel. Besides, you can use this 360-degree video player to record a screen in 4K, open and handle YouTube videos and playlists, arrange your favorite files in collections.Michael Parets works for an independent film company focused on the development, production, financing and international distribution of feature films. The developer has integrated AirPlay technology, instant screen mirroring into the program. Verdict: 5KPlayer plays 4K/1080p/360 videos, DVD, and IPTV with ease.Download ApolloOne - Photo Video Viewer for macOS 10. Drag and drop the video onto the 'Drop V360 Video Here' or click the box to choose the video. Open the V.360 Exporter Application. Install the V.360 Beta Video Converter by clicking on the ZIP file. The application is supported on both Macintosh and Windows 64 Bit computers.This is the proving ground and battleground for thinkers and tinkerers. The future of content creation and consumption. Manifest Destiny.Welcome to the evolution of story. The path to creating virtual reality content has been identified, but has yet to be defined. Barons, cowboys, outlaws and gunslingers all vying for their voice by rushing for content gold in this unbridled sphere of influence — but they are stumbling in the thicket of the emigrant trails. Virtual reality: the wild west the new frontier the land of opportunity.Storytellers are riddled with the challenge of defining story and creating truly compelling content in virtual reality’s current state of nascence.Conflation peppers the storyteller’s ideology in 360 video and virtual reality. A new means for escapism.But with this newfound power, storytellers must create a new form of media that completely immerses and entertains the viewer for the duration of the story’s exhibition. Here exists an outlet to control and capture their undivided attention. This is a sophisticated audience that processes multiple streams of information faster than ever before, and craves a deeper connection to the content that can be shared across social profiles.The virtual experience is the new theatrical experience, whereby the 21st century viewer is unable to distract themselves with the second (and third, and fourth) screen.
360 video and virtual reality present untapped storytelling models that are encapsulated by metaphysical qualities: existence and influence.The rivers of Existence and Influence each diverge at separate deltas. The traditional notion of the fourth wall has been eliminated. The storyteller directs the viewer’s gaze through this situational content by using elemental cues, such as light, sound and stage movement. Virtual reality renders a world in which the consumer essentially operates as a natural extension of the creator’s environment, moving beyond 360 video, by enabling the viewer to explore and/or manipulate a malleable space.In 360 video, the consumer functions as a passenger in the storyteller’s world in virtual reality, the consumer takes the wheel. 360 video serves to ramp up consumer adoption in the market, lowering the barrier to entry, but will veer into its own niche as virtual reality and augmented reality advancements marginalize and cannibalize the medium.Once storytellers existentially define their audience’s relationship to their content, they focus on the fundamental ethics and dramatic arc of their story.In 360 video, multi-camera rigs (often stagnant) are utilized to record live action in a 360 degree realm, which gives the consumer a contained perspective to a location and its subjects. They are two distinct mediums.360 video is virtual reality’s gateway drug, and is becoming ubiquitous with the Google Cardboard and Facebook’s promotion of the format. While this has been the status quo for the majority of filmed entertainment, its applications in 360 video and virtual reality inject newfound complexity into the viewer’s relationship to the content.In its counterpart, the Participant model, the viewer’s identity is recognized within the universe of the story. Presence is only granted through the ability to observe the story, so the viewer remains in a non-existent state outside of the story. For Influence, the experience is either Active or Passive.In an Observant model, the viewer does not inherit a rigid identity within the story. Operation flashpoint cold war crisis serial keyThe traditional storyteller’s school of thought prevails, where the viewer is relegated to a rudderless vessel in the passage of the storyteller’s universe.As seen in the above Punnett Square, Existence and Influence converge in four possible combinations: Observant Active, Observant Passive, Participant Active and Participant Passive. The means of yielding optionality to the viewer converts the virtual experience into an interactive playing field, thus emboldening the content with causality.In a Passive model, the storyteller maintains autocratic power. Once made, these choices influence the story’s progression. In this democratic mode of storytelling, the storyteller presents carefully measured and calculated choices to the viewer. The virtual universe of the story responds to, and can be motivated by, the viewer’s digital existence.In the Active model, the viewer is given a share of the storyteller’s power to affect the outcome of the story’s events. Glen Keane’s Duet employs a more subtle approach, as the viewer’s gaze dictates the progression of the narrative. The storyteller controls an expository dialogue with the viewer.Some examples include Yoni Bloch’s Pretend to Be Happy, in which the non-existent viewer renders change within the story through thoughtfully placed graphic overlays. Or, the storyteller covertly empowers the viewer’s gaze to follow a specific character’s journey. This already functions in certain forms of digital media, as seen in the increasing popularity of “choose your own adventure” types of stories.In 360 video, the consumer functions as a passenger in virtual reality, the consumer takes the wheel.To employ this technique, the storyteller explicitly intrudes on the user experience through freeze frames, narration, subtitles and annotations. The Active aspect is limited by a predetermined set of choices (nodes) laid out by the storyteller, by which the storyteller has construed a variety of outcomes. ![]() These parameters can vary according to the storyteller’s intended structure (rigid versus free form).Samsung and Ustwo’s Land’s End presents a minimalistic take on the viewer’s interaction with story, and as a character within it. The universe acknowledges and addresses Existence, as the viewer interacts with the world and is bound by its laws and underlying story.A character has the ability to go off on a tangent, but the story will reset, adapt or evolve based upon certain parameters. The viewer both exists in the world as a character or story device, and has influence over the experienced story. In both, the protagonist breaks the fourth wall by opening up a line of dialogue to (not with) the audience. The viewer functions as a silent bystander, or pure-recipient of action.The definition can be muddled if we were to look at films like Annie Hall or House of Cards. Participant PassiveParticipant Passive is a relatively new form of story in which the viewer exists in the world as a character, or a story device, but the story does not ask anything of the viewer, or permit them to inform the course of events. Outlook for mac work offline 2016 changeTheir creative choices ultimately provide intrinsic meaning to the content, which can be individually inferred by the viewer’s perception. In Supergravity and Terror Film’s The Chosen 360 video experience, the viewer is strapped to a chair while paranormal events unfold in the room.Once storytellers existentially define their audience’s relationship to their content, they focus on the fundamental ethics and dramatic arc of their story. In Guy Shelmerdine’s Catatonic, the viewer inhabits a wheelchair-bound patient being pushed around the psychiatric wing of a 1940s-era hospital. Ilya Naishuller’s first person POV high-octane action film Hardcore has the main actor billed as “you” the viewer. For example, the viewer could toggle vantage points or perspectives in a crowd while watching Godzilla destroy a city.360 video and virtual reality push the viewer into a symbiotic relationship with the story.Sidney Lumet’s film 12 Angry Men comes to mind as interesting material for adaptation, if the viewer were to be imagined as a juror who lacks free will and narrative voice.
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