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The VR projects of Clap & Zap in Cannes …

VRroom talks about us:

Published on 20/05/2017

The Marché du Film, nestled in the heart of the Palais des Festivals in Cannes, is a place of projection and encounters.
Its emerging part dedicated to new narratives, NEXT, is in full bloom between conferences and projections.
Meeting with Maud Clavier from Clap & Zap VR, young producer who already knows the corridors by heart.


The origins of Clap & Zap
Claz & Zap is a company created 3 years ago, which began with the production of corporate contents and short films.
Then, starting in 2015, after the discovery of articles dealing with virtual reality, we set out to be the first to produce a short in 360: OTHER SIDE, in partnership with the companies Holodia for the virtual reality part, And Panocam3D who lent us a stereoscopic camera.
It was a small 2 minute project that we presented at the Cannes 2015 festival, and then allowed us to evangelise around us.
This allowed us to obtain a contract with INRA, to carry out various projects for them.
We have filmed their citrus collections in Corsica, a film that we presented at the Salon de l’Agriculture.
A rather fun experience since in addition to the helmet they had installed a fan that diffused scents of citrus to strengthen the immersion.
We also made various small videos for tourism organizations in Martinique for companies of rum, for the region of Cannes also where we were based until last summer.
In the meantime, we decided to go up to Lille because we found the region more dynamic and close to Paris, notably to integrate the Uni-VR network and to get closer to companies similar to ours.
We filmed a film called LE DERNIER HEROS, an 8-minute VR fiction (coproduced with Cedrick Léger, CEO of CLE) in the spirit of Studio Bagel where the superheroes lost their super power .
This parody, which was presented at Paris Court Devant and then at Laval Virtual in official selection, was produced with the Belgian company Sonicville 360 for sound tracking (the sound is amplified in places according to the viewer), spatial sound With additional focus, under Unity.
We have also worked with several companies in the North, including La Plaine Image.
The files are currently being filed to develop this project as a mini-series.
Being in Cannes for a VR producer
On the one hand we obviously seek to sell our films, to show them (THE LAST HERO is available at the VR Library at the Market).
On the other hand, we meet the financiers to consolidate the links with them, festivals to organize the promotion of our productions beyond France itself: we plan to double the 13 actors of the film in Chinese and English, Will happen more easily if we manage to convince broadcasters to invest on the film, see the mini-series.

China is really a goal for us. I see three major markets of virtual reality: Europe, the United States and China.

It’s a huge market, with a lot of potential: from the start we had a strategy of exporting our products there, with contacts already established with certain distributors on the spot.
What is a VR Clap & Zap movie?

On the LAST HERO, there is already an alternative end to the experience.

We plan to develop this hotspot technology much more in the future, not only for a multi-choice narrative but also to have invisible options that will trigger hidden dialogues on where the viewer will look, for example.
For the rest of the series, we want to explore this idea, as much in the image as in the sound, and other options that will be made according to the viewer.
In our last production, we also made the choice of a mainstream subject with superheroes and references that people know.
It is a wish of Charles-Henri Marraud des Grottes, my partner, to appeal to the greatest number of people, away from most of the current experiments of the RV. The idea is to continue on this comic and hyper-referenced register, and to integrate all the technologies that can help to energize the narrative.

The VR, an idle industry?

A few years ago, we developed a rather ambitious project where we had digitized actors to animate them later, with videogrammetry among others.

But the financiers (French) did not understand our approach, and we could not continue.
Many studios have innovative ideas, without the budgets then to realize them.
On the other hand, many newcomers benefit from the media and the innovative effect of the VR, without having the storytelling that goes with it.
Many pioneering structures are very ambitious, like Okio Studio, DVmobile or ourselves, both on technology and in narration.
We go further and further. I will distinguish the passive 360 video, the active video game VR, the animation movie 360 and finally the VR movies (as Philippe Fush calls it): 360 films with interactive systems, which is THE LAST HERO.
But the more realistic the picture, the less interactions are possible, and the reverse offers more cartoon universes allowing to interact a little more.
The real magic of the VR will exist when we can mix the two, a realistic photo universe and interactions, without falling into the video game.
One can imagine seeing his hands during the experiment in a few moments, whereas today it is very frustrating not to be incarnated.
History is also less credible. Most barriers are still technological.

VR projects to advise?
  • ALTERATION by Okio Studio, discovered at the VR Library of the festival, is a very dreamlike short, with a graphic rendering that integrates perfectly with the 360 technology. It is original, visually abundant.
  • PATTERNS, by Pierre Friquet, a very interesting autobiographical account where one plunges into one’s subconscious, between virtual rendering and organic, and some shocking scenes.

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