It’s a question VR enthusiasts can squabble over just as emotionally as cyclists in Berlin will fight with SUV drivers. Ultimately, it’s a question of personal preference. Still, what is a film in 180 degrees anyhow? And what is it good for?
It is starting to get colder in Berlin, and I find myself reminiscing about our snug little nook in sunbathed Venice: for the second time, we were given the chance to meet VR and AR professionals from around the world at the Lazzaretto Vecchio. The green courtyard became a setting where creatives, enthusiasts, critics, investors, distributors, and sceptics came together in tranquil harmony to sip their morning cappuccino and chat cheerily about virtual worlds. The talk of the town: how theater and VR came together in Venice. Read in this article more about the two stunning experiences The Horrifically Real Virtuality and Umami.
Venice VR showcased a number of top-class VR films. These films prove narrative works’ ability to stand as an individual genre of virtual reality. Within the contest and alongside Lucid, The Great C – a filmic adaptation of one of Philip K. Dick’s short stories – demonstrated the vast potential of VR animated film in particular. I had the privilege of discussing this with its director, Steve Miller.