The era of VR is like the silent movie era.

In February 1895, Parisian stage magician Georges Méliès fell in love with a new technology. A movie camcorder capable of shooting and projecting motion pictures inspired his imagination but he could not buy his hand. In desperation, Mérieux spent a year doing it himself. Filming and film flushing are all his own explorations. He set up a studio, joined up with production team members and recruited actors. In the end, they released more than 500 short films, each of which is full of creativity and amazing. During this process, the Mérieux team uncovered dozens of new film shooting techniques. They realized that the film was not just about "projecting a stage play to the wall," but was a brand-new media. It was subject to some new restrictions and new functions.

Movie camera

Today's VR narrators find that the challenges they face now are the same as those of Merriet. As a new media after the movie, VR needs some new technologies to express time compression, parallel shots, movement mechanisms, scene switching and so on. Like the early pioneers of the movie, the early narrators of VR were also subject to strict technical restrictions when they started their work, and they needed to create new methods that they could use in their own progress.

Innovation in dilemma

Some of the techniques and techniques used in modern filming can be seen clearly in the shadows of the past. Each of them is the result of the early pioneers breaking the old technology. The techniques of editing, cross-cutting, and dissolving shots were invented by Robert Paul and James Williamson in the early years of the film era, and the formation of other techniques took more than a decade. The tracking lens technology that became popular after Giovanni Pastrone's film “Capricorn” first appeared in 1912; the zoom zoom lens was first used by Clarence Badger in the movie “It”.

Henry

The just-started VR narrative is also subject to many technical limitations. The two VR movies “Lost” and “Henry” created by Oculus Story Studio are all single-scene, single-site real-time shooting content. VR, which encountered technical obstacles in the early stages of development, would be unfamiliar to Mérieux.

In traditional movie shooting, audiences can be guided by push-pull and panning. VR has no similar technology. Limiting viewers' attention to moving with the camera can undermine VR's presence and cause dizziness. So far, the means by which the VR narrative guides the viewers' line of sight is limited to the techniques of dance, lighting, sound, and movement.

However, some more effective VR-specific technologies have recently emerged. Colosse, shot by Nick Pittom, uses the gaze trigger mechanism to control the storytelling. In the movie, if the sight of an audience shifts to another place at an impending moment of an important event, the event will pause and wait until the audience's gaze returns to a suitable position. Nick Pittom said in an interview: “We can also shift the venue of the incident from where it is ignored by viewers to the places they are interested in. Even what will happen will be completely changed as the audience shifts sight.”

In addition, Nick Pittom's shooting team is also trying some narrative techniques that are impossible to achieve in the movie. "I often think, don't try to get the audience to follow the story, but let the story happen around the audience." He said: "Maybe try to arrange for two events to happen at the same time, and the audience will choose what they want to see. With the development of VR narrative, we may find a balance between interaction and narrative."

Although there have been a lot of explorations and attempts in VR narratives, developers still have to solve some of the more difficult editing challenges when designing games. Based on the existing shooting technology, Gunfire Games and Oculus Studios have created a new scene switching method for Colosse. Richard Vorodi of Gunfire Games stated: "The technology used in "Colosse" has broken many of the traditional rules of filming."

In the movie, when changing from one scene to the next, if the orientation of the actor changes, it will have a very sharp interruption to the coherence of the narrative. In "Colosse", when a player enters another room from one room, the player's perspective is changed from the camera in the previous room to the camera in the next room. In this perspective conversion mode, the orientation of the characters is likely to change relatively.

However, the VR environment differs from the movie in that this change in orientation does not lead to adverse consequences. For this, Richard Vorodi explained: “We have found that in an interactive VR game, as long as the character's position remains intact, it is possible to freely switch scenes and perspectives according to the needs of the game story.”

The evolution of VR narrative

From the theater stage to the screen, early film pioneers also made many sacrifices: color, sound, depth, and the kind of high-energy interaction between the audience and the actors. But there are some things in the movie that theater performances can't do. Location shooting makes the entire world a stage for the performance of a movie. Zooming in on the lens allows the audience to appreciate the content in more detail, and cross editing allows the director to play the story in multiple locations at the same time.

Double-exposure, alternate editing, flashback techniques, and other shooting techniques can produce effects that stage performances cannot achieve.

Correspondingly, VR also has some features that traditional movies do not have. The huge robot in the film “Lost” uses the superior proportion of VR to the extreme; in the movie “Henry”, the unique sense of empathy and empathy in VR brings a humour to the original 2D screen. It became a faint sorrow for people's feelings. Since there is no need to deliberately break the “fourth wall” like the stage performances, the eye contact between the small hedgehog Henry and the audience is especially true.

“When the film first appeared a century ago, the free atmosphere enjoyed by the artist and the continuous progress of the technology at that time were incredible.” said Eugene Chung, founder and CEO of Penrose Studios. “There are no stubborn ones. The old-fashioned forces and regulations, artists and scientists are free to create, do not need to win in order to win more audiences, and limited, and with the rise of VR, we see is a similar situation of artistic freedom and technological progress. ”

VR movie

Penrose Studios try some groundbreaking practices. They not only allow the audience to move freely in the movie scene, but also encourage them to do so and take the initiative to follow the development of the story. In Penrose Studios' first five-minute film The Rose & I, the hero's little planet hangs in front of the audience. When the audience is guided by the story and distance from the planet, they must lean forward or walk around the planet to know what will happen next. In the company's second film "Allumette", this practice has also been further used. "Allumette" narrates for 20 minutes, is one of the longest VR movies, and held a red carpet world premiere at the Tribeca Film Festival in April.

“We want to make “Allumette” an emotional story of unprecedented length,” said Eugene Chung. “The first movie of the 1880s was only a few seconds long, and after 12 years, the train robbery "The advent of the book is only to increase the time to 12 minutes until the final film reaches the current feature length. How long is the most suitable time for VR? Now nobody knows, but we are trying to figure this out Work hard."

One hundred years ago in the world's first film, the train shot by the Lumiere brothers entered the station and scared the audience out of the theater when it was first released. This is exactly the same as the audience who sat on a virtual roller coaster today.

The road to the future

Many VR narrators are aware that VR development is still in the early stages of the Miere era. It took decades for the film to reach the point where it is today, and it will take more time to reach maturity and reach its peak.

VR may not be able to produce such masterpieces as Citizen Kane. However, some people in this industry have already added tires to the creation of such a VR work, like Lumiere, Mérieux and other movie pioneers. .

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