How filmmakers are inventing the language of VR
“In the last great art transition, the major stage play directors tried to become film directors, and a lot of them didn’t succeed because they did things like put the camera in front of the stage,” said Chung.
Today’s recipe for great film doesn’t work on an Oculus or HTC headset.
“We have experimented with lots of things — including scale. … For us, we want to create these big open worlds. We actually think about ourselves as creating worlds first, and then the stories and characters as secondary,” said Chung.
In Allumette, the viewer sees each scene as if they were perched in the clouds, a god-like view. You move the camera by looking around, like any other VR experience out today, but you can also change the scale of the set and characters simply by walking toward them. You watch it standing up.
If you’re going to do it in VR, then you have to rewrite it for VR.”
Rose Troche, whose second VR piece, Perspective Ch. 2: The Misdemeanor...The viewer sees the film from the perspective of each character ...
Neither The Misdemeanor nor Allumette are significantly interactive, but each work successfully transports the viewer somewhere else.
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