VR & Cinema – Google I/O 2016

VR & Cinema – Google I/O 2016

Hey, how’s it going? Good. Welcome to day two. Check out my cool shirt. Woo! Feeling pretty good about this. I should introduce myself
before I talk about my clothes I guess. I’m Jessica Brillhart,
the principal filmmaker for Google VR. And so why am I here? I’m not an engineer. I’m a filmmaker. I’ve been a filmmaker at
Google for 6 and 1/2 years now. And for the past six
years or so, the engineers and the filmmakers, we kind
of work in different groups. But about a year ago, a group
of engineers gave me this. And this is one of the first
prototypes of the Jump rig. Jump, for those of
you who don’t know, is an ecosystem
we’ve been working on for 360 degree stereoscopic
content creation. It consists of three parts. The first is what you see here. It’s a rig of 16
GoPros in an array. The second is the assembler that
uses computer vision and cloud computing algorithmically to
stitch the stuff together. This is one of the
earliest stitches to come out of the
Jump ecosystem. It’s the engineers filming
themselves in Seattle. And it remains one
of my favorite things I’ve seen in VR. And stitching has always
been a really annoying time suck for VR creators, right? And being able to
film and not have to worry about that process
is a really big deal. And the last is playback, making
it available to an audience. So I’m going to show you
a lot of footage today. And because of the
nature of the stuff, you’re going to have
to see it on a screen by sitting out there. But you have to trust me that
in VR this stuff is actually pretty great. It might still be great. I don’t know. But thankfully, we’ve got
this really great new platform that I’m happy to
announce today. And we’re calling it YouTube. And YouTube plays
VR, which is crazy. So not immediately
after this, because I’ve been kind of running around,
but end of the day today, I’m going have a
playlist that’s going to have all of the
stitches that you see here during the presentation. You can watch it on
your Android device. And then recently we have now
Cardboard support on YouTube for the iPhone. So you guys will all
be able to see it. So I’ve used the rig
and the assembler to film over 750 shots
over the course of a year. Or, as my engineers like
to say, 3,176,020 frames. And no one has film this much
live action VR in the time that I have, as far as we know. And if you know
differently, don’t tell me. I like to live in my delusion. So why am I here? Basically this sums up
the past year for me. I was handed a new
piece of technology, and then I used
it to make stuff. And here’s where
we are right now. Because I was able
to film so much and be able to see the
results so quickly, I’ve been able to establish
for myself mostly, but also for other folks
who are interested, a kind of language for making
virtual reality content, so seeing what works
and what doesn’t, what ways as a filmmaker I
need to rewire myself in order to make
this stuff work. And because it’s important
for technology and art, I think, to be in
constant conversation, I think it’s important
that I share with you guys some of the stuff I’ve
learned over the past year. So I’m going to talk
about these four things. The first is what
every traditional film person faces, which is a
loss of a frame as a device. The second is what
that means for editing and how something
like editing can be reworked to suit what we
want to accomplish in VR. The third is the realization
that even though it’s a camera, the camera actually represents
a human the entire way through. And the fourth is the
question on everyone’s mind, storytelling, and how
to do story in VR. So let’s talk about the frame. The frame is a precious
thing for a filmmaker. It’s our medium. So we aspire to be masters at
crafting this kind of window into another world. But a frame doesn’t
mean jack when someone can do this, right? And the whole point of film
is that your audience never does this. But in VR you do this,
because if you don’t do this, you’re doing it wrong, right? So in traditional cinema,
we use the concept of the frame to make sure
people pay attention to what we want them to pay attention to. We think if we lose the frame,
we lose complete control. And this makes
filmmakers– a lot of them are credible ones that have
been around for a while– makes them freak out, like this is
horrible, this is dangerous, and so on. But let’s just
breathe for a second. Have we lost complete control? Or maybe it just lives
somewhere else in this. Us humans have a
knack for following what calls attention to
itself, no matter where it is, no matter where it goes. And in VR, we’ve been
calling these elements points of interest or POIs. And it’s important to note,
this does not just mean visuals. We tend to hear things
before we see them. So spatial audio plays a
big role in this as well. So let’s take this
glacier climber. That’s one point of interest. He’s the only human. He’s the only one
making a sound. And although we can’t be
100% sure, because we never can in VR, we can make
a pretty solid bet that someone will focus on him. That’s one POI. It can become very
complex rather quickly, because life is
very complex, too. So if you take this tram scene,
it doesn’t present just one. But it presents four
or more possible POIs. Or something like rocks,
which is utter chaos. But to be honest,
that just means that potentially everything
is interesting to someone. I just can’t take any bets
or place any bets on them. So our control as creators
is in this understanding of the potential experiences a
world contains so that we can prepare for this,
prepare for how someone might engage with the space. And our craft is really
more about, as creators, how do we respond to the
potential experiences that someone has, if at all? Which brings me to this. So when filmmakers
talk about editing, we talk about putting frames
or shots in a linear construct, right? There’s nuance
and there’s craft, but generally that’s
where we’re going. And that’s what we talk about
when we talk about editing. It’s shot to shot
and frame to frame. Now when we try this in VR, the
cuts felt jarring and weird, and we pretty quickly
knew that it did not work. So what happened? Well, for one, when we think
about representation of editing in VR, we think about
a predetermined frame to frame visual. And that’s probably
the wrong approach, especially when the potential
of the frame could be anywhere. And so VR needs a
different visual for understanding
this potential. And in trying to figure out
what that visual could be, I started drawing lots of
circles, and lots more circles. And each of these
circles was an attempt at mapping out the
world of a given shot, basically taking this
and thinking of this. So each shot is an experiential
world, the fundamentals being the visitor, the visitor’s
abilities, and the world. Now I’ve actually
been using this graph as a way of kind of getting
through all my crazy thinking. And my colleagues now call them
my crazy blue damn circles. And I accept that. It’s mine. I’ll take it. But that also means that editing
in VR can’t be frame to frame, right? So instead of frame to frame, we
think of it as world to world. And now I can see the
potential for everything, where the frame is everywhere. Which is to say our
jobs as creators is not to preciously craft something
that someone may never look at and then
forget the rest of it, but instead to guide visitors
through a crafted universe. And at the forefront
of every new medium, we get the benefit of
coming up with terms. And this is one of those terms,
probabilistic experiential editing. It has a really
unfortunate acronym. [LAUGHTER] I mean, I can’t do
anything about that. So let me explain
what I mean by this. Probabilistic experiential
editing, at its core, is about understanding a
visitor’s likely interaction with the world around them. So first, let’s get back
to this idea of attention. If I make a solid bet
on a particular POI, like this glacier
climber, then I can make something
or do something much like matching– I call
it matching on attention. We do match on action
in editing, too. Something’s moving. We cut to something
else that’s moving. With this, it’s about
attention, cutting from someone’s attention
point to another thing that I may want them to see. So taking something
like this where I can gauge where someone
might be, determine where our visitor’s attention
will most likely land, and then align the following
world so that attention point matches with
something else I’d want a visitor
to pay attention to. It could go from an attention
point to something else that I want a visitor
to see, much like this. Or it could just
be a spatial thing. I just want you to feel
specially comfortable. So keep things spatially similar
to reinforce an engagement in a particular direction. And the visitor rarely starts
and ends at the same place. If you do your job right,
they’re looking around. So as their attention
shifts, our attention needs to shift with it. And then you start to get
this kind of weird editing flow, kind of a
bit like how we’ve thought about it in outpoints. Except now it’s not where I
think you should start and end. It’s me understanding where you
would like to start and end, and then responding to it. And by doing this we start to
lay the foundation of a pathway through the overall
experience, like creating a conversation or
a dance of sorts with experiences of a visitor
and the potential experiences of the worlds we create,
kind of like unlocking an intricate cipher. And I’ve been calling it,
and consequently we’ve been calling it,
the hero’s journey. And this is a potential journey
we can craft for a visitor. There is no guarantee a
visitor is going to do this. In fact, what’s
been really fun is when the visitor
starts doing that, and then goes away,
and then comes back. And I can see that based
upon their orientation of how they’re turning
during an experience, which is pretty cool. And it gives the
universe coherence. It feels like it’s all
part of the same thing. Even if someone’s not
going down that path, there is this vibe that
people feel like it’s actually one long experience. And there’s more to this,
but I can’t go through it because it would take forever. So consider this a primer. So we as filmmakers consider
the camera to be this tool. And we move a tool
around a lot, and kind of frantically sometimes. And we put in
precarious situations. But in VR, whatever
happens to that rig happens to a human being. So you can’t just move the rig. That’s like OK,
I’m like, I mean– that goes into a
whole other thing. But if I’m standing
and I’m looking out at a really beautiful
thing, and then suddenly I get picked up
and then put somewhere else, I would hate that. Most people would hate that. So we have to actually
think about what a human being will feel like
if we do anything to that rig. Like OK, I’m going to
do this to this rig. How would I feel like if
I had that happen to me? So a visitor doesn’t show up
when she puts on her headset. She shows up as soon as you
press the Record button. I think that’s a really
huge thing that we need to accept as part of this. So last year when we came back
from a pretty intense film shoot, we drew up a
very high tech chart to analyze the
impact of everything we captured because we need some
way to call down these shots. I had to make it a little
bit more PG rated because of the conference. But you can see “looks awesome,”
“looks not so awesome” there. “Sounds awesome,” “sounds
not so awesome” there. What we called the “vortex
of confusion” where no one knows what’s going on. And then the “I feel
awesome” or the impact. And it turns out that horses
is the experience to beat. So what is “I feel awesome”? If the power of the frame
is what we’re after, and a frame is determined
by where the visitor looks, then we need to
champion the visitor. We need to care about how this
experience makes people feel. So again, it gets complex. And there’s many ways to do it. But for the sake of time,
here are three examples. The first is having an identity. A rig in a space is always
regarded as something. But when a person
puts on a headset and they’re in the
space, they expect to be regarded as someone. So how do we do that? So the height of the rig,
which we cannot see here, but imagine if you were a
rig and you were my height, that would feel fine. You relate to me. Oh, this is fun. But if we were a young kid–
but if I wanted to actually sit with you guys in
the audience right now, and I sat down, I would
be one of you versus me. So I think none of these work. OK, let’s just think about
this space right now. If I was a rig and
I wanted someone to be the presenter, which would
be terrifying because you can imagine being a presenter
is pretty terrifying, I would actually have a rig
here at a level of mine. And it’s authoritative. I look down on you guys and
I’m like I’m the presenter. But if I wanted the person
that is in the experience to feel like you, I would
actually have the rig at your height, below. And that actually
makes me relate to the audience instead of me. Now granted, what
people end up doing is they’ll put the rig here. And the presenter will be here. And the people will be here. And then who the heck are you? Who am I? Like, I’m not the presenter
because there’s a presenter. And I’m not you because
I’m taller than you. So what am I? So that’s a question you
really have to ask yourself. We think of cameras
as just capturing. But if we’re
capturing an identity, we really need to
think about what that identity is, what
the positioning is, what the height is. And eye contact. So this is actually a
scene from something that released recently
for the Montreal Canadiens called “Go Habs Go,” which
we’re really excited about. It’s a new Jump film. And there was a moment
that I saw on this. And I’m like OK, I know
that people are probably going to be looking at
the torch ceremony folks, so I got to put this in. So I’m going to talk about
eye contact for a second. You can connect with someone
in a very profound way through eye contact. You probably shouldn’t
do it all the time, because that makes you
feel kind of weird. Like if someone kept
kind of staring at you, would you feel cool with that? Probably not. But if you nuance
it and do it right, it actually ends up being
a really intimate moment. It’s basically a close-up. So let’s see it play here. Oh, no. Can we go back a slide? I really want people
to see that one. Thank you. Wait a second. Is it not playing? Guess you have to watch
the film on YouTube. Sorry, guys. So we love discovering things. It gives us validation
in the space and some sense of purpose. So ownership of
these experiences, where you say to yourself,
OK, I found this. And because I found
this, this has value. And I have value. So like the need to present
everything to a visitor is a bit old school, and
honestly kind of boring, and especially when
all someone has to do is turn away from that
presentation of something for it to be ineffective. So I tend to try to place things
more in the corner of someone’s eyes so that the moments are
discoverable by a visitor so she can own those
experiences more. So here’s an example of
how you can play with this. Notice if you don’t catch
me falling on my butt, I know I’m going to
be fine with that. But if you do accidentally get
to that point and you see it, you get motivation
for understanding where I cut at the end. When Nick grabs my
hand, we go to black. So if you see that and you
see Nick grabbing my hand, that’s the cut. If you miss it, it’s fine. But if you catch it,
it’s your moment. And I think that’s a
really important thing to do for someone
who’s in the space. When I saw WEVR’s
“TheBlue,” which is an experience
made for the Vive– it’s about being underwater. And it’s a beautiful experience. And there’s all
this life everywhere because you’re under water. But what’s great
about it is they’ve actually planted
experiences around you that they hope that
you actually discover. It’s not just chaos. There’s some intricately
laid out chaos, or intricately laid out
moments within that chaos that they hope that you see. My next thing comes
from a conversation with these two guys. It’s Rand and Robyn Miller. And they’re the co-creators
of the game called “Myst.” Seeing Atrus in VR, for
those who’ve played “Myst,” is pretty awesome, and weird. But one of the most– it’s
an amazing computer game. If you haven’t played it, you
should definitely play it. And Robyn said
something interesting. He says what he does in a VR
experience is that he actively identifies what a creator
wants him to look at. And then he looks in the
completely different direction. And I started to do this. And you’d be shocked by
how little people plan for that space. So what do we do
with that space? How do we craft that? What’s there? So here’s a scene
from a film we made with Jump called “Resonance.” And we have a young girl,
Kennedy, playing the violin. And behind her are her parents. And you know, you’d
get a fine experience by watching Kennedy
play the violin. Like you don’t lose anything. That’s the whole
point of the scene. But the fact that the
parents are there, and if you turn and
you see the parents and you hear the
audio of her playing, there’s something really
beautiful about that moment. So maybe the rebellion
isn’t so much looking at the
opposite direction, it’s looking the
easiest direction, and then I spike
you in the face. Gentle spikes, they’re
like happy spikes. So the nature of an experiential
world– and the people in it can have a profound
effect on us. When we go into a
room of people that we know versus when we go
into a room of people that we don’t know,
it’s different. We meet someone for the
first time, it’s how you do. You shake hands. You move on. But if you meet someone
for the second time, you don’t have to do that. That’s different. Energy shifts and changes
as we build relationships. So meet my family. Even though the rig is a strange
and weird thing for them, it’s part of me. And because they– I
hope they love me– they love me and care about
me, they goof around with it as if it were me. It feels very natural. It’s, again, hard to
read from a screen, but in VR, it’s welcome
to my house, which is for me kind of creepy. But let’s be honest. And this is Google I/O in 2015. [LAUGHTER] I mean, let’s just
ponder this for a second. And I just turned on the
rig right before the keynote where Clay announced Jump. So all these people
were coming in. And it’s a very
different feeling. He doesn’t have the
time to look at you. So I mean, that’s very
different than a family. You have one group goofing off. And then you have
this other group that’s evaluating you and
seeing if you’re even worth their time and Instagram
moment, I guess. Now let’s get back to the
clip that I showed you at the beginning. And this is why I think I
fell in love with this medium and why I fell in
love with this clip. It’s because it’s
a rig to them, too. But they created it. They’re so happy that you work. They couldn’t be more stoked. And there’s this feeling of
joy that you just– I mean, I’ve been making films here for
a long time, most of them about engineers. And I tell you, the fact that
they set a camera up and just did this is remarkable. And captured this is remarkable. All right. So let’s talk about story. And I actually don’t want to
talk about story yet because I want to talk about this. Lots of what’s being made in
VR right now is mostly surface. It’s mostly just about what
we see and what we hear. It’s like the first
level of being somewhere. But being there
goes much deeper. There’s significant
depth to what’s possible. And we’re starting
to see more and more of this kind of exploration. So here are a few things
I’m thinking about. Generally it takes some
time to know someone. We talked about that
a little bit earlier, to feel comfortable being
in a particular space. Yet in a lot of experiences,
we’re thrown into it. And then we’re expected to
relate to everybody there. But in life it’s a process. You know that, right? Like eventually we become
closer to someone else. Eventually we care. So what if we started
building these relationships appropriately in VR too? Start with someone
present but distant, and gradually bring
them closer to us. Now once we establish
that relationship, is it eye contact
and direct address? Is that the best way to connect? Maybe not. We found that shared
experience is powerful stuff. This is as true for the
virtual reality space as it is for the real world. We go through
traumatic experiences. We go through great experiences. You can see it in
someone else’s eyes if they know that you’ve
gone through the same thing. We’ve all felt that. So I feel that VR can
provide some sort of outlet for that kind of
profound connection. And when I watched Oscar
Raby’s “The Assent,” I thought it was a
great example of this. As the visitor, you are Oscar’s
father reliving a tragic event. But Oscar is there, too. And as a character, he’s
patiently leading you through this recreation. And I am not Oscar’s father. He would laugh if he
heard me say that. But I feel connected with
him in a very profound way. I simply share this
experience with him, and we’re in this
thing together. So what’s the dialogue
between the virtual space and the real space? What’s the potential
for something that lives in that tension? So right now, there’s what
goes on in the headset, which you didn’t see. And then there’s also what
we do in the real world for that experience to happen. And if movement in the real
world added to something or meant something uniquely
narrative– like how do we potentially construct
experiences that ride both worlds simultaneously? Tyler Hurd did this really
great video, that maybe you can’t see, but we’ll see now. All right. Imagine someone was
dancing, or there’s these dancing animations. And we’ll show you that. [VIDEO PLAYBACK] -So if you want to dance like
these guys, can you do that? JESSICA BRILLHART:
This is Glen Keane with the Tilt Brush guys
dancing to the experience that Tyler made. -This is a great workout. JESSICA BRILLHART:
And you can actually see a little bit of the
experience there on the side screen there. But it’s a simple thing. It’s just like dancing, right? I mean, I’m in the experience
and there’s dancing. And now I’m compelled to
dance outside of that. Like what’s the
performance there? What can we do with
the actual real world that could be a result
of what we experience in the virtual world? [END PLAYBACK] JESSICA BRILLHART: And how do
we experience things really? In our lives, we know
ourselves and we are us. I mean, that’s just how it is. But in VR we can experience
different ways of being. And we can experience the world
beyond ourselves and beyond how we have evolved to perceive it. “6×9” is a great
example of this. It’s how does an inmate
in solitary confinement perceive the world. How does a situation like
this truly affect him? Or how does it feel to
see the world the way a computer algorithm
might see it? This is DeepDream VR. We worked with the artificial
intelligence team on this. Pretty trippy, right? But artificial
intelligence can actually provide some really
beautiful insights into our perceived world. And “Notes on Blindness”
is a remarkable piece. It’s a VR piece based on the
account of a man going blind, dealing with going blind. So this new form
that we’ve known, this physicalness,
this almost rigid world transforms into something
a little bit more beautiful and true. [VIDEO PLAYBACK] -As one goes deeper
into blindness, the things which once one
took for granted and then mourned the loss of and then
tried in a way desperately to compensate for, in the
end, ceased to matter. They lose existential meaning. They are removed
to the periphery on one’s consciousness. They become irrelevant. [MUSIC PLAYING] JESSICA BRILLHART:
And I had grown to know these forms so well
that when the forms started to actually break apart
and the cathedral started to drift away, I sort of started
to understand that maybe I’m not seeing things the way
that I should be seeing. [END PLAYBACK] JESSICA BRILLHART: But
wait, there’s more. I’m going to go through these
super fast, but onboarding. People don’t really
understand VR 100% yet, so it’s nice to
have a couple levels in the beginning
of the experience so that you know that
they know that it’s VR. Extend and respond, like how
they engage with the space? How do you extend
that engagement? How do you respond to it? Let’s do entanglement,
social space. Like, what if
there is some space that you are in that is affected
by someone who came before you? The weather changes. The colors change. The character shifts
and change and evolve. Maybe something like this–
[INAUDIBLE] Newsome actually talks about this. She’s been thinking about
this stuff too, the idea that 360 space is
a lot of space. Can you then start
targeting things? Can you then start
constructing spaces or worlds where it’s really just about
the 180 or the 270 or the 90, and different amounts of story
are revealed at that space? Passive-active, world
function, reinforcement. Oh well, too late. Multiverse– I’m going to
sound like a crazy person if I don’t already,
but the fact that time is a linear construct too. What if all the different
worlds we could travel through or tunnel through are
all the same worlds, but different things
have happened in them? The story has
emerged differently. There’s a different character. There are supporting characters. She didn’t end up with him. He became a monkey. I don’t know, but basically you
have all these different worlds that exist, and you craft
something based on that. Flocking. OK, so story. Now we’ve got all that
stuff all the way-ish. I mean, there’s a lot more. There’s a ton more. But let’s touch on the story. Let’s think for a
moment of story and film as a dense atom of stuff. And when you look at
this atom, you get it. You see everything. Now imagine that atom exploding. That color and that light and
the emotion in the characters, it’s all over the place. And that’s VR. And story has always been
a way of transporting you to another place
or time or world. But the fundamental
nature of VR is presence. There’s no once
upon a time anymore. There’s no in a world. You’re there. And the story emerges
from when you do or what you do
when you’re there. And it’s a result
of your existence. You as a visitor are
now the storyteller. And our job as creators is this. Now in order to
do this, we still need a language so that
we can, at the very least, make sense of it all. And in retrospect, cinema
has had a hundred years to deal with this, to be able
to come up with this language where from story
sort of emerged. And there’s a lot
of unknowns here, but we are pretty excited
about the language we’ve been able to discover so far. And we think it’s a really
great place to start. So what’s next? I don’t know. But I do know that
as I start to come up with more insights,
as we discover more things about what’s going on in
this medium, I want all of you know about it, as crazy as they
may seem to me and to my team. But I’ll publish them on
Medium, my channel on YouTube. Feel free to check that out. That has a lot of the
films I talked about today. I’ll have a playlist for all
the content that I showed you. And I think overall
what I want to just say is it’s a crazy
time to be in VR. We’ve been talking
very pragmatically. But I think it’s time that we
hunker down and start really thinking about
what’s going on here. And I can’t wait to see what you
guys discover in the next year. So thank you. [APPLAUSE] [MUSIC PLAYING]


42 thoughts on “VR & Cinema – Google I/O 2016”

  • Is there a playlist for all the videos mentioned in the talk? I'd love to be able to watch all of them on my cardboard

  • Will Hattingh says:

    This is insightful but is exactly what game developers have been doing for many many years. Open world development took this to a new level, this is also the reason why VR fits so well in a well developed open world game as the world is designed to transport you there and VR just increases the immersion. From a game developers perspective you have to take into account massive amounts of different things, how they relate to each other and also how they impact one another. This includes alterations to the story based on dialogs / actions which is only told from a single perspective in current film. Exciting to see this being explored in film.

  • Ricky Solorio says:

    This is so cool. I believe VR will give us films that can tell different stories by how we the users decide to pay attention to in the virtual world film. So cool!

  • VR is just a beginning. Google need to build a full suit type thing so one can play game etc. by actually jumping, running, speaking, doing things one actually do ,, will also be done by character in the game. its like playing game itself in the game world…. Think of riding a dragon. driving a jet. making a living in the virtual world according to ones own choice and use that data to improve real world. Oh man!! YOU HAVE ACCESS TO ONES MIND.

  • Hey JESSICA i have a thing for you. What you think of rather than watching movie at a place(i mean on my bed), what if i can move inside of the movie? . I mean just think i am watching TRANSFORMERS and instead of sitting i am like moving inside the movie and watching movie from every angle Drones are fighting front of me and i am like in the movie. Think about the excitement we have if you can create this because i dont have that resources to do it myself right now. so, i am giving you this kinda CHALLENGE. Do it and do it fast before i do it. Dont forget my name.

  • The spatial audio is a beautiful technology enough to hypnotize the audience. 

    The 360 degree video creation environment should be prepared for common users who don't know how to make their spatial audio contents.

    I have tried to make the spatial audio videos using popular-priced 360cam.

  • Does she really understand what her warped video looks like (7:09)? Was it intentional? A few of the audience certainly seem to see the resemblance. lol

  • Curating an experience that is supposed to be naturally experienced is so difficult to do without making it seem unnatural. there's clearly a lot of thought going into this. Interesting.

  • ABOUDIAMOND Animation Studio says:

    " Technology enables art, art challenges technology"
    a phrase pronounced about 3D animation by someone at pixar…

  • I dont think you need to worry to much about attention if there are people there to watch they are there to watch where the action/intention is though it is intersting because in a linear format the story teller can drop a suttle/unexpected message and you have to get it because you cant miss/skip it. though until there are a wealth of worlds there will always be people who would rather play with the box, a bit like me playing GTA I always just cruise around listening to the radio rather than do the missions. but once there Is a wealth of options people will see no point in people tagging on in a story if they can easy just go somewhere else they are interested in (and will miss the subtle beauty/twist that they may of unknowilgly untill the end had to watch in a linier film they thats why the internet is so addictive you get board you can teleport to whatever sparks you interest or gives you a quick dopernine hit.

  • Thank you Jessica! I live in the Canadian arctic and am stoked to get out and start shooting. Just need a camera rig! But I'm working on it.

  • This is what you get when tech companies hires "creatives," it become less about creativity, and more about creating rules of how one should "optimise" user experiences. Sorry, too many rules, let people explore, freely, stop trying to "direct" them.

  • These rules are rubbish imo. This doesn't sound like the smartest way to think about movies in VR. One should only be able to look at what the director wants you to look at.

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