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Scooped by The Digital Rocking Chair |
Scoop.it!
The Digital Rocking Chair's insight:
Adi Robertson: "The scene is a snowy apartment building out of the 1950s, rendered in a bright, slightly retro palette. A janitor trudges across the courtyard, then stops, wary. Someone is out there. Someone large, nimble, and wearing a floppy red hat. Then you turn your phone."
"Aardman’s animation, though, had to look good from several different possible camera angles. It couldn’t be linear, and it had to progress at the viewer’s pace. In Special Delivery, some vignettes only begin when you look closely at them, and major story events will wait until you’re paying attention. Instead of a screen, the team had to imagine something more like a stage. They even built a circular cardboard "set" as a storyboard, blocking out the movement of their characters in physical space.
"You’re giving away the camera to the audience, which is a bit nerve-wracking," says director Tim Ruffle. "After a while, you kind of get the idea that you’re trying to create an experience for people, rather than creating a show."
That’s a sentiment that’s heard more and more often, from directors exploring the nascent field of virtual reality video."
The article mentions the VR limitations and its differences with 360° casual immersion. It also meditates on the line being blurred between motion pictures and video game.
UPDATE: another article on the topic
http://www.marketingmagazine.co.uk/article/1391491/wallace-gromits-makers-virtual-reality-reshaping-storytelling