Description
- The history of VR;
- VR cameras;
- Game engines and interactive VR;
- The foundations of VR storytelling;
- Techniques for shooting in live action VR;
- VR postproduction and visual effects;
- VR distribution;
- Interviews with experts in the field including the Emmy-winning studios Felix & Paul and Oculus Story Studio, Wevr, Viacom, Fox Sports, Sundance’s New Frontier, and more.
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By Celine Tricart Routledge 180 pages | 174 B/W Illus. Paperback: 9781138233966 pub: 2017-11-13
Table of Contents
Introduction and Definitions PART I – Theoretical and Technical Foundations Chapter 1 – History of VR by Eric Kurland Chapter 2 – Live-Action VR Capture and Post-Production Chapter 3 – Game Engines and Interactive VR Chapter 4 – VR Headsets and Other Human-VR Interfaces PART II – Virtual Reality Storytelling Chapter 5 – VR: A New Art? Chapter 6 – VR as a Storytelling Tool Chapter 7 – Make a Film in VR from Start to Finish The Future of VR / Conclusion List of Interviewees About the Author Index
Reviews
“As the flood of new technologies drives us all forward into the future, creative content pros still possess the timeless ‘killer app’ – a great immersive story. But when meeting a new generation of consumer appetites with bigger and more exciting experiences, even the best storytellers need to know more. In this book, Director Celine Tricart superbly presents both the challenges facing us today and the real-world, practical solutions that will save time, money, and frustration tomorrow. It’s a guidebook to success.” —Jim Chabin, President, Advanced Imaging and VR Society
About the Author
Celine Tricart is a filmmaker and founder of Lucid Dreams Productions, whose work was showcased at the Sundance Film Festival and gathered numerous international awards. Her past credits include “Stalingrad” and “Transformers: Age of Extinction.” Celine produced and directed Maria Bello’s “Sun Ladies,” a VR experience about the Yazidi women fighting ISIS in Iraq. She has previously published another book, 3D Filmmaking: Techniques and Best Practices for Stereoscopic Filmmakers (2016).
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