The film festival just ended with a custom show called The Bomb which blew some minds with live music and immersive screening.
Earlier this year at SXSW, I met Brazilian film director Ricardo Laganaro who worked on the beautiful semi-spheric experience at the Rio's Museum of Tomorrow. He was also convinced that VR headset were killing the social bond and that other directions integrating a common experience should be explored.
Decisions made by AI "cannot make sense of what we are trying to accomplish or why” says Associate Professor Mark Riedl. His Entertainment Intelligence Lab at Georgia Institute of Technology's research into computational narrative intelligence is one potential way of overcoming that barrier by opening the possibility for AI to “create rapport with humans by sharing virtual vignettes.”
In keeping with this, Scheherazade-IF was not designed with entertainment-oriented games in mind and may not be suitable for that role. Riedl says that this is the result of the median-based model of this system, which means that its stories would “largely avoid the dramatic twists that one would want in a strongly-story driven game.” The team has, however, discussed ways to make the system’s vignettes more dramatic, although practical application of such theories has not yet been attempted.
It's rare to find a comedy series that has enough realism to keep you engaged with the characters and enough farce to keep you laughing. Enter High Maintenance -- the first-ever Vimeo Original web series.
Via The Digital Rocking Chair
"Look how Transparent, House of Cards, and Orange is the New Black are being critically lauded and scooping up all kinds of major awards. And rightfully so. It's just a sign of what's happening and what's to come. Vimeo, Netflix, Amazon, Hulu -- those guys -- they're going to continue to function as studios for people making digital content and then there will be all the people making stuff independently. It's going to keep increasing exponentially I think, as people become more and more comfortable viewing content online and as more and more people discover they don't have to wait for a TV executive to give them permission to make a show."
Stevan Živadinović, the brains behind multi-plane side-scroller web comic Hobo Lobo of Hamelin, walks us through the development of the Parallaxer platform and gives a crash course on turning pencil drawings into transparent-background assets...
The article explore the differences between the two "mediums". Stressing the fact that "VR’s biggest strength is also its greatest weakness. The immersive nature of VR hinders users from interacting with their surroundings. [It] has already started to revolutionize the way we watch content, but will never be the technology we turn to in our everyday lives."
Whereas AR brings layers of info on our daily lives, the tech has not delivered yet due to the issue of visualization. But "Microsoft is working on HoloLens AR headset glasses. Developer kits are scheduled to hit the market in early 2016. Google invested in a company called Magic Leap, whose technology beams lasers into the viewer’s iris to activate AR. That future will become a reality in another year’s time."
This animated short — called Special Delivery and released today — is the latest project released for Spotlight Stories, a smartphone-based video platform run by Google’s Advanced Technology And Projects (ATAP) group. It’s an interactive YouTube video compatible with Android phones, with a non-interactive 360-degree video version for iOS or web users. A collaboration with UK studio Aardman Animations, the project is another small step towards turning a Google experiment into a new artistic medium.
"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.
Chris Milk is a true 21st century artist. The fact that he learned to code at an early age is very relevant. His collaboration is Aaron Koblin are mind blowing and he can also truly shine on his own - as the Lincoln Hello Again project shows it
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