Interview regarding my ex-company Clap & Zap production, and our original 360 films, including Le Dernier Héros (The Last Hero).
Its emerging part dedicated to new narratives, NEXT, is in full bloom between conferences and screenings.
Meeting with Maud Keyboard Clap & Zap VR, young producer who already knows the corridors by heart.
This parody that was presented in Paris Court Front, then Laval Virtual in official selection, was produced with the Belgian company Sonicville 360 for sound tracking (the sound is amplified in places depending on what the viewer is watching), a spatialized sound with an additional focus, under Unity. Beeing in Cannes for a VR producer
On the other, 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 comedians of the film in Chinese and in English, which will be easier if we manage to convince broadcasters to invest in 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 is a huge market, with a lot of potential: from the beginning we had a strategy of exporting our productions there, with contacts already established with some distributors on site.
We plan to develop this hotspot technology even more in the future, not only for a multi-narrative choice but also to have invisible options that will trigger hidden dialogues about 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 chose a mainstream subject with superheroes and references that people know.
It is a desire of Charles-Henri Marraud des Grottes, my partner, to address the greatest number, far from most current experiments of the RV. The idea is to continue on this comic and hyper referenced register, and integrate all the technologies that can help boost the story. Is VR a very slow Industry? ?
But the (French) financiers did not understand our approach, and we could not continue.
Many studios have innovative ideas, without budgets to make them come true.
On the other hand, many pushy players benefit from the media and the innovative effect of VR, without having the storytelling that goes with it.
Many pioneering structures are very ambitious, such as Okio Studio, DVmobile or ourselves, both in technology and in storytelling.
We are going further and further. I will distinguish the 360 passive video, the active video game VR, the animated film 360 and finally the VR movies (as Philippe Fush called it): 360 movies with interactive systems, what is THE LAST HERO.
But the more the rendering is realistic photo, the less the interactions are possible, and the opposite offers more cartoon worlds to interact a little more.
The true magic of VR will exist when you can mix both, a realistic photo universe and interactions, without falling into the video game.
We can imagine seeing his hands during the experiment, while today it is very frustrating not to be incarnated.
History is less credible as well. Most barriers are still technological.
- ALTERATION, by Jerôme Blaquet (Okio Studio), discovered at the VR Library of the festival, is a very dreamlike, graphically rendered short film that integrates perfectly with 360 technology. It’s original, visually abundant.
- PATTERNS, by Pierre Friquet, a very nice autobiographical story where we dive into his subconscious, between virtual and organic rendering, and some shock scenes.
Thank you Mathier Gayet for this interview!