Virtual reality in cinema has so far been more virtual and less to do with reality.
The technology – every industry has its disruptive force, and virtual reality is supposed to be the movie industry’s disruptor – has been around for decades, but votaries say that now is the time for virtual reality to show its true technicolor.
In their view, the world is flat, and then there is virtual reality.
A landmark in digital fact was once the 1992 movie Lawnmower Man, in which a numbskull gardener is converted with the support of the technological know-how right into a raging genius.
The film, amongst different things, contained the arena’s first digital truth sex scene.
Seeing that then, although, matters cooled off, until not too long ago when gaming has infused new life into digital truth technological know-how and unfolded new possibilities for the film trade.
Right here in India, the world’s most prolific producer of movies, digital truth in cinema is poised to open up intriguing new vistas, in keeping with aficionados of the technology.
Among the most enthusiastic proponents is filmmaker Anand Gandhi whose 2013 movie Ship of Theseus gained the country wide award for a satisfactory photo.
So how is a cinema in virtual reality different from classic cinema? Simplistically, a movie-watcher in classic cinema is merely an observer; we all know that feeling.
In virtual reality, movie-watching is a 360-degree immersive experience where the viewer is at the center of the action.
As a scene unfolds, the viewer has the choice to look in whichever direction he or she wants and become absorbed in whatever part of the action they choose.
The heads-display mounted in front of the eyes enables the viewer to look in a direction of their choice.
A computer or a smartphone can be used to play the movie.
All of this means that the experience is a life-size 3D environment without the limitations associated with a TV or a movie theater screen.
Virtual reality movies are not just about the gizmos and the tech; they have to be made as part of a complete package which includes the story and the subject, according to film editor Neil Sadwelkar.
“VR is an experience, and the story has to be scripted for the experience,” he said. “VR would work brilliantly for all the fight scenes … but it may not work well for intimate story scenes; here the addition of VR would downgrade the experience.”