This is the best analogy we’ve ever read about the future of virtual reality

5 Dec 2015 | Author: | No comments yet »

‘Walking Dead’ executive producer sinks teeth into VR.

LOS ANGELES — While experimenting with virtual reality for his latest project, “The Walking Dead” executive producer David Alpert and his crew relied on a very old-school form of technology when filming in 360 degrees: the hidey-hole. “The assistant director would go around and say, ‘OK. The Gear S2 launched by Samsung Electronics arrived in Saudi Arabia recently, presenting consumers with a device that caters to all their wearable needs. “The Samsung Gear S2 is purposefully designed with a versatile circular display and unique rotating bezel that provides an optimized user experience for precise and comfortable control,” the company stated.

Every 24 hours that passes by feels like I am slipping a little bit deeper into an alternate reality, where the cheesy tech dreams of ’90s sci-fi is becoming real.As Samsung gears up for the first-ever holiday shopping season with the consumer version of its Gear VR virtual reality headset on the market, it knows that great content is the key to attracting users and keeping them engaged.When David Alpert’s Skybound Entertainment shot an 11-part thriller series titled “Gone” in Los Angeles and the Sequoia National Forest this summer, things weren’t exactly like on other TV sets.Since 2012, the Oculus Rift has been the poster child for virtual reality—a status that was upgraded immeasurable last year when Facebook FB 1.72% bought Oculus for $2 billion. Everyone, get in your hidey-hole!'” said David Alpert, president of Skybound Entertainment and an executive producer on “The Walking Dead” franchise. “Everyone in the camera department would look around and check if you could see them.

The crew of up to 40 often found themselves scrambling to escape the camera, with writer / director JT Petty regularly crawling around on the floor to follow the action without being caught on film. Ltd. 005930, -1.63% is pushing virtual-reality headsets this holiday season, and now it is debuting fresh content that it hopes will give buyers something exciting to watch after they unwrap a Gear VR. If they could, they’d say, ‘You need a new hidey-hole!’” Being outside the view of cameras capturing every angle was just one of the many challenges that Alpert uncovered while working on “Gone,” a live-action episodic VR series produced for Samsung’s Milk VR service. Earlier this week, Samsung released what they are calling the Samsung Internet app, which is essentially their version of a web browser compatible with their Samsung Gear VR platform. And now the company has unveiled perhaps its most ambitious VR effort yet, a new interactive serial virtual reality “thriller” called Gone that will soon appear in Samsung’s official Milk VR channel on the Gear VR, with five- to six-minute episodes rolling out intermittently over the next few months.

The result of more than a year of work, “Gone,” will debut on Samsung’s premium Milk VR app on Tuesday, with more of its 11 episodes appearing later. Scenes got shot in one take, there were no close-ups, and captured material was quickly stitched together within about half an hour on set, so that the team could preview it with their Gear VR headsets. Oculus, though, has not changed its position that pre-orders for the system will begin before the end of the year, and Palmer reiterated the Q1 2016 launch date at the show. But as we stand on the cusp of a deluge of VR hardware coming in 2016–including headsets from Valve, Oculus, and Sony–the Gear VR is beginning to look limited by comparison. Our latest wearable ensures that you get more out of every moment in your day by making it smarter and ultimately more personal and fun.” The 11.4-millimeter thin Gear S2 brings a light and compact design to the wrist.

Alpert noted that modern VR is still evolving and that he wanted to first produce an original story in VR before tackling zombies in the immersive medium. “In the beginning when TV came out, people started just by putting radio on TV,” he said. “Then, when the Internet came, people said, ‘Let’s put TV on the Internet.’ It takes a while to find that native medium. For example, it doesn’t have positional tracking, which means the headset is a lot like the Oculus DK1 released back in 2012—with all the motion sickness problems included. Petty, Gone takes viewers into the dramatic story of Meredith Clover, a mother desperate to find her missing 9-year-old daughter, Emilia, who disappeared from a crowded playground in broad daylight. While no official figures are available for that system, it appears to be selling briskly, with Amazon AMZN 0.87% unable to keep it in stock and Samsung’s own site saying it can no longer guarantee delivery by Dec. 25. Fast Company says Gone will be a narrative driven through “hotspots.” You’re basically an invisible observer investigating particular clues, or hotspots, that only appear for a short time as the story unfolds.

These hotspots appear as visual cues throughout the show, and viewers who focus on them are, for the lack of a better phrase,. “sucked in” explore the scene from a different angle, giving them the ability to take a peek behind objects, or have a closer look at characters hanging out on the sidelines. “You are being challenged by things that appear in front of you,” said Samsung’s VP for content strategy Matt Apfel during a press preview of the show this week, adding: “You are on a bit of a scavenger hunt.” Exploring these kinds of hotspots is interesting on its own, but “Gone” also utilizes them in a clever way to advance the story without making it too distracting. Also warming up on deck for next year is The Vive, a VR headset by HTC and Valve, as well as Sony’s SNE 0.55% PlayStation VR (formerly known as Project Morpheus). Hotspots are only available for a limited period of time, after which they disappear, and the videos-in-the-video that viewers can unlock by focusing on a hotspot actually progress at the same speed as the main plotline. The makers are hoping that every person will have a slightly different experience, and more importantly, want to watch Gone again and again and again. Virtual reality is certainly a big advancement, both technologically and for the entertainment industry, but analysts warn that despite the anticipated media blitz and proclamations that 2016 is the year of VR (and, perhaps, augmented reality as well, depending on what Microsoft does with Hololens), it’s going to be a slow start. “To over use the not used often enough baseball analogy, we don’t even think we are in the first inning yet,” says Ben Schachter of Macquarie Capital. “For VR/AR, we have just pulled into the parking lot and tailgating is about to begin.

Or, as Rachel Skidmore, Skybound’s director of media development and production, put it, “We wanted [you] to participate, and to build suspense, which comes from your own investigation.” Because the hotspots go away after a few seconds, it’s likely that not all viewers will be able to look at each one in chronological order. In other words: Viewers can change their vantage point, but not slow down or manipulate time, which would take away from the dramatic moments of the thriller. Ignoring the obvious walled garden for a moment, a Galaxy S6 (or whatever Sammy phone you have) can only handle so much, unlike say, a PC specifically designed for VR. So Gone won’t exactly be the future of VR storytelling so much as an early prototype for VR movies–like how film was originally a vaudeville gimmick before tech innovations allowed it to go mainstream.

And Apfel added: “We are not going to make this a ‘Where is Waldo?’.” Still, viewers may need some time to get used to the show, which is one reason why it comes with a dedicated tutorial to explain the use of hotspots. But that learning curve goes both ways, as creatives still have to find out what actually works in VR, and how viewers react to their newfound freedom. Meanwhile, PlayStation VR is the only system designed for consoles, ensuring that players get a consistent experience that’s not reliant on their PC’s graphics and computer processing power. “It has a lot of buzz,” says Liam Callahan, games industry analyst for The NPD Group. “We’ve been promised VR culturally, whether it’s the holodeck in Star Trek or the Danger Room in X-Men, for a long time. It’s just like most web browsers in that I can open multiple tabs, but instead of having those tabs hide away underneath other content, they stay up on their own panel in the environment. As of right now, with the Web currently designed as a two-dimensional platform, there isn’t much actual HTML/CSS/Javascript content that can really take advantage of virtual reality.

It isn’t as if I can’t replicate the experience with a large table, a grip of monitors, and the handy “open new window” feature of most browsers. I keep referencing Johnny Mnemonic in the screenshots I use while discussing virtual reality, which is an incredibly cheesy movie, but the ideas in that movie are slowly creeping their way into the real world. There isn’t as much whiz-bang and kaboom to the audiovisuals of the experience, but I am essentially controlling panels attached to the information superhighway, while standing in an imaginary digital room. Maybe I’m preparing myself for future stubbornness, where I will grasp onto a concept destined to be outmoded — but maybe content on web pages shouldn’t evolve beyond being clumps of words, with the occasional static image or streaming video thrown in?

But probably the biggest thing about web browsing’s position on the virtual reality stage is that it is more of an end-of-tour feature than a main event.

Here you can write a commentary on the recording "This is the best analogy we’ve ever read about the future of virtual reality".

* Required fields
Our partners
Follow us
Contact us
Our contacts

ICQ: 423360519

About this site