By DJ Roller, NextVR on September 26, 2014 in Op-Ed
Why VR tech serves as an ideal alternative to TV and how monetization opportunities abound
The growth of virtual reality is guaranteed to have a transformational influence on the live entertainment industry. Offering a distinctive experience far beyond attending a concert, show or sports game, virtual reality technology provides a standout option to live entertainment enthusiasts everywhere. Below are three examples of how virtual reality will alter how we view, enjoy and engage in live entertainment.
1) The Best Seat in the House
Virtual reality doesn’t physically take you to an event, but it mentally brings you there. Across today’s popular entertainment venues, there are only so many front row seats at a sporting event or concert, and these tickets are continuously increasing in price. With
virtual reality technology, more fans can have that front row experience. The specialized 3-D 360-degree technology offers a view that being in the audience could never buy – placing cameras in locations beyond a front row experience (i.e. under the basketball hoop, in the end zone, etc.) – and gives the user the feeling of being in a special place.
Virtual reality provides a whole new medium. Whereas Hollywood movies have to be 72 minutes to be considered a theatrical film, virtual reality doesn’t have these restrictions. In fact, viewers have the opportunity to do so much more, such as meeting the actors and actresses “in-person” – an opportunity that few others have had the chance to do.
Developing a character is also a different concept in virtual reality. Storytelling traditionally has a beginning, middle and end, and you are able to engage the audience by choosing what they can view. However, with virtual reality, you want users to turn around or look behind them, so it offers a new perspective and allows them to develop their own unique stories. Users can tell their own stories depending on where they look and create their own beginning, middle and end. Filmmakers and content creators will have incredible new ways to influence the audience experience too, since they’re now able to connect with audiences from every possible angle as if the user was in the center of a theater-in-the-round.
2) An Alternative to Television
People are watching less and less television these days due to ever changing technology providing over-the-top content, online video and more. While television will not be gone any time soon, virtual reality gives viewers another way to get excited about sports and live events and offer them an exclusive way to become engaged. Virtual reality provides the ability to teleport viewers to different areas of the sports arena or concert hall, and virtual features such as a personal club box allows you to experience the event with your friends. The possibilities are limitless.
When asking viewers what they see when using a virtual reality device, they say, “I was at ___” or “I did ___,” clearly articulating a feeling of presence and active engagement as opposed to being a passive onlooker. Television fails at providing this interactive experience; therefore, as virtual reality develops, more interactive components will be added to the user experience to fully immerse consumers. The technology provides the opportunity to offer additional content from an event, such as interviews in the locker room or scenes not normally shown at a typical event. Imagine the fan experiences that virtual reality can deliver, which have never been available through any other medium.
3) New Opportunity for Monetization
Virtual reality will be a boon for sport teams, production companies and concert promoters too. It will provide supplementary revenue models for both sports and other live events. As the virtual reality industry matures, brands will be able to leverage advertisement banners in sports arenas based on regional demographics, catering to specific target audiences. Integrating ads in live feeds leads to more effective advertising vs. watching a game on television. Interactive games and merchandising pages can also further boost revenue by allowing fans to swipe through pages to view the ads that interest them.
In addition, virtual reality provides a great method for people to view a game or concert when the event is sold out. In fact, most fans do not live near an arena, so attending games for their favorite team is difficult and often expensive. Virtual reality brings the game to the viewers and gives brands and teams an opportunity for revenue expansion due to the targeted advertising they are now viewing with this added experience. It offers new ways for brands, athletes and artists to reach current fans and connect across borders.
DJ Roller is the co-founder of Laguna Beach, CA-based NextVR
Fri, October 3 2014 » FC2_2014 » No Comments » Author: softscan
Redefining how you control your devices, the Intel® RealSense™ 3D Camera enables new ways to interact in gaming, entertainment, and content creation. Featuring full 1080p color and a best-in-class depth sensor, the camera gives PCs and tablets 3D vision for new, immersive experiences. Interact more intuitively with facial analysis, hand and finger tracking, speech recognition, background subtraction and augmented reality, for agile device control.
Thu, September 4 2014 » FC2_2014 » No Comments » Author: softscan
Souce at http://realvision.ae/blog/2014/08/the-language-of-visual-storytelling-in-360-virtual-reality/
They say you shouldn’t hijack the head-tracking data stream of the Oculus Rift; Visuals should not be separated from the human vestibular system…but rules were meant to be broken. Why? because there’s so much more to VR than gaming.
This is not to say that games aren’t becoming movies! I found myself strangely immersed in Naughty Dog’s “Last of Us” than any tent-pole movie I’ve seen in the past few months. Such is the power of CG movies, un-canny valley be damned.
Defining a language for 360 look-around movies:
You know how it all began oh so long ago (OK, 4 years ago) when the language of film-making was being defined / re-written for S3D. Well, time to re-write again. Immersive 360 film-making is set to explode, with an audience of teens to mid forties – at least at the start, and telling stories in this medium is quite a different skill-set to master.
Citizen Kane, back in the day, although a 2D film, had given enough clues to modern 3D film-makers on how to effectively use the medium of S3D… but no one really had the patience to listen. Lighting, Depth of field and yes – even hijacking the head-tracking stream can work when creating movies on a 360 canvas.
When I started investigating this exciting medium a few months ago, alarm bells would go off when I asked on Oculus Rift / Game Engine forums about intercepting the head-tracking and orientation info of these devices, but that’s because so far it’s only games that have been designed for VR. It’s soon becoming evident that apart from the gimmicky interactive look-around voyeuristic possibilities offered by the medium, serious Directors and storytellers will look at retaining control of the “frame” if they are to be enticed to creating movies in Virtual Reality.
So what could a immersive 360 Director’s tool-box look like?
Lighting – With the temptation to look around a scene, a Director and VR DoP can use the age-old technique of spot-lighting areas of importance.
360 Positional Sound – Wait until Dolby Atmos gets interested – Chances are an Atmos SDK might already be in the works to create scound-scapes that can aid in directing an audience’s attention.
Depth of Field – The pet peeve of Steresoscopic 3D film-making, unless done correctly. This technique is worth exploring in an immersive 360 environment, to guide audience attention. At least it won’t be a lead-by-the-nose experience, as it’s sometimes abused by inexperienced DPs and Directors on 2D films.
Limiting the Horizontal FoV – There is no rule per se that every scene should feature full wrap-around 360 views of the scene for the audience to explore. The horizontal field of view can be restricted for certain shots. This is a creative call, and is what will contribute to the flavor of the overall movie experience being crafted by the film-maker.
Advanced Tools for Immersive 360 Storytelling:
The short demo scene above is from MAYA – a mixed media Motion Comic I’m working on for the Oculus Rift and other VR devices, including Cell phone VR, such as Google’s Cardboard, Durovis Dive and others that will allow almost any smartphone; andriod or iOS, to playback VR movies and experiences.
The demo clip is a straight video grab of a wearer viewing a “page” of the motion comic via the Oculus Rift. It features both, scene cuts and subtle interactivity.
Interactivity: In the first scene after the title, The girl stands at the window – that’s what the Director intends the audience to see, and the rest of the room has subdued lighting. That is… unless the wearer turns their head around, which triggers the bedlamps to increase in intensity.
Forced Cut: Hijacking the Head-tracker – The next scene shows the girl framed on the bed. This cut will happen, ir-respective of where the wearer of the Rift is looking. Yes, it is a forced Cut, and will put the scene bang center.
The important point to be aware of, is this – The same rules for S3D storytelling apply; mis-matched depth splicing should be avoided.
(image credit: RoadtoVR)
GreenScreening the Crew out:
This idea came to me when I glanced at the image of what I later realized was a paratrooper in the movie. I initially thought they had covered crew/equipment in green, for later keying/wire removal. While I have not looked at the actual feasibility of stereoscopically replacing a background plate after removing any green-screen clad crew or equipment – I am confident that it could be possible, even when dealing with de-warping and stitching the 360 image.
Compositing in 360:
Below is an interactive 360 “cubic” panorama. It was converted from an Equirectangular image to cubes that form the Panorama. (Click and drag, or if browsing this page on an android/ios device, the gyro will work).
Thu, August 7 2014 » FC2_2014 » No Comments » Author: softscan
Gravity is a pen and pad that allows to sketch in 3D space using augmented reality. The cool patent-pending system hardware and software system has gone through several working prototypes and now they are looking to start manufacturing
CHECK IT OUT AT
Wed, April 23 2014 » FC2_2014 » No Comments » Author: softscan
ReversedAIML is a program written in AIML (Artificial Intelligenge Markup Language) for creating AIML content. ReversedAIML, developed by Charlix, converts factual statements into AIML.
heres the link to youyube
Download from http://charlix.sourceforge.net/reversedaiml.html
AIML bots can access CYC the Ontology database
Sat, April 12 2014 » FC2_2014 » No Comments » Author: softscan
Here is the diagnosis of why 3D imports failed in our project
Aurasma Tech Team (Aurasma Community Network)
Apr 02 02:52
The issues I can see with this file are:
1.The tar file contains a folder, this is why Aurasma is outputting the Invalid archive contents message – it’s looking for a DAE file inside the tar and all it sees is a folder. All your files need to be in the Root of the tar archive, I think when creating a tar file on a mac OS it will automatically create a folder inside the tar – so don’t beat yourself up about it!
2. When the folder is removed you still have a problem with a missing texture – the texture file notexture.png has been applied to the mesh and isn’t in the tar archive. All textures you apply to the objects in your scene must be on your tar file.
3. The actual dae file you have is almost fine – the only problem is that your material is set to 0 transparency – meaning its totally invisible. So even had you put your notexture.png in there & the tar uploaded successfully, you still wouldn’t see anything when it triggered.
Also, checkout our 3D Guidelines for all the essentials http://www.aurasma.com/wp-content/uploads/Aurasma-3D-Guidelines.pdf
Sat, April 5 2014 » FC2_2014 » No Comments » Author: softscan
and general overview and examples
Thu, April 3 2014 » FC2_2014 » No Comments » Author: softscan
Here it is:
Wed, April 2 2014 » FC2_2014 » No Comments » Author: Raheem
Hi everyone – we will meet tomorrow morning at our regular class time just inside main doors at Nathan Phillips square. We’ll explore the first project and then head to Trinity Bellwood to explore the second. We have at least two cars so I *think* we should be able to drive over to the park together, no problem. Please come ready to experience the works – if you have a mobile device that will run aurasma, bring it!
The link to fordproject’s Channel is
Please post the second channel asap!
It promises to be a nice day – thank goodness. Looking forward to seeing you all, experiencing these projects and wrapping up our discussion.
Wed, April 2 2014 » FC2_2014 » No Comments » Author: Caitlin
Kline’s Bleeding Through (the book) follows the remembered life of Molly which touches on a sequence of historical events.
And her friend Edgar who is so possessed by the story of the Biblical Ezra.
Klien dreams and re-edits the events of his life. His memories.
He follows leads about dead old people referred to by living oldies
He identifies historical sites that have been obliterated by development
The history of forgetting is pleasure based on abstinence
The computer is essentially an aesthetic of databases assets
What gives story presence is absence
First The seven memories that Molly remembered before she almost died – via Photographs
Second Contextualisation – via press clippings
Third The aporia of Media – everything that Molly forgot, left out, couldn’t see – Movies and Video
Computers cant deliver this third act.
Memory and Thought
The other pole of memory is not forgetting but its absence.
In Buddhist “psychology” “feelings” of flow are dealt with. Feelings consist of thought plus the accompanying bodily sensations. All thought is conditioned by memory and mental habits. Attention is only fully present when. thinking and prejudgment don’t occur and perception of word events are uncolored. This is momentary “enlightenment” (Flow ?)
We see as through a glass darkly.
When our attention is fully focused we feel flow
Games provide this as does physical exertion
There is a danger in that the pleasure that comes for this as it becomes a end I itself. A dead end
Internet of Things
There is no internet of things. There is an internet of signs or representations of things.
Things are represented by language or sign systems.
These signs are the content of thought and language.
A database of things only means anything to the user who seeks out meaning there
Real meaning is in the relationships between things particularly people.
The cutting (bleeding) through in Language happens when some of these type of things occur
A disjunction or omission which disrupts the flow of logic
A seemingly unresolvable contradiction
So anything which disrupts our habitual and conditioned expectations forces reevaluation
From conflict comes reassessment and new meaning arise.
Tue, April 1 2014 » FC2_2014 » No Comments » Author: softscan