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.