Song of Ice and Fire in VR Industry

jtzyvr  2019-05-04 15:59  阅读 38 次


"2018 is a glorious year for the VR industry." Lou Yanxin introduced that besides IMAX, Apple, Facebook and others are devoting themselves to the research and development of head-wearing devices, imaging, algorithms and other technologies to quietly accumulate strength. Domestic companies are also waiting for the maturity of the underlying technology and hardware products, and then launched the VR field.

According to Ray Emmond, CEO of Pinta Studio, the wild VR service, which used to satisfy users'novelty and only watch short films, is over. "VR falls in the valley of despair, but it has not yet fallen to the bottom. Some people with insufficient abilities quit the game, while those with strong abilities rise against the trend."

For example, Raymond's Star Wars: Secrets of the Empire, created by VR Offline Paradise Designer The Void (headquartered in Utah, USA, with multiple offices around the world, based on interactive devices and dedicated to creating immersive entertainment experiences), together with Lucasfilm's Industrial Light and Magic Laboratory, has attracted many consumer experiences. With a number of large IP, The Void has opened nine stores in just a few years, and is expected to land in China in the summer of 2019.

Industry Elimination Period Content Advancement 2.0

"Real VR films should make the content interact with the audience and let the audience enter the world of the film." Ray Emmond does not approve of most VR movies and TV works at present. "It can only be called 360 degree panoramic video."

Industry "phase-out period", VR content is the time to move from 1.0 era to 2.0 era.

Roger, Director of Strategic Planning of Jaunt China, said that VR video interaction started with seats that could move up and down from the perspective of the film, and has evolved to allow users to participate in the plot through functional buttons or other devices.

In this regard, the digital kingdom, a company based on visual effects, has made new attempts in recent years. In "VR Sino-Japanese Naval War", players need to complete the task of collecting goods at the bottom of the warship cabin according to the voice prompt of "small robot" at the beginning of the experience, before they can enter the time shuttle and return to the battlefield of Sino-Japanese Naval War a hundred years ago.

"Increasing interactivity is the representative feature of VR films'evolution from 1.0 era to 2.0 era." Lei said that the creator should also pay attention to the interaction of content. "If you spend too much interaction, it's like a game." He believes that without changing the direction of the story, it is enough for the audience to participate and promote the development of the plot.

Some people are obsessed with the interaction of VR content, while others are trying to develop their "social attributes".

The VR Experience Center of SoReal (Beijing Danghong Qitian International Cultural Development Group's VR Entertainment Brand and Zhang Yimou's Co-founder and Art Director) in Beihai, Guangxi, not only has VR Experience Project, but also packs catering services in traditional shopping malls. This makes SoReal more geared to the group of tourists and makes VR experience stores more like a scenic spot. Consumers can not only watch VR works, but also increase social experience such as tours.

This model, Roger calls destination consumption, "very much like Disney Park". He said that Jaunt China (founded in 2017 to provide solutions and services for B-end customers from front-end shooting to full-platform online and offline content distribution, and to provide high-quality immersive content libraries for C-end users) would build a small destination-based experience center in Shanghai in January 2019. "VR is only an important means for experience centers to attract consumers, but not the only hand." Paragraph. "

In the 5G era, the light of commercial realisation?

VR practitioners are waiting for an opportunity to reverse, that is 5G.

"5G signal application will improve the display effect of VR hardware devices." Raymond said that the official launch of 5G signal in 2019 may bring new opportunities to the VR industry. "The problems of motion tracking delay, too small field of vision, low resolution and poor picture reflected by the audience are expected to be solved with the increase of transmission speed."

But at the same time, he also said that 5G signal application is only a boost, can not fundamentally solve the problem of VR commercialization. "Although the transmission speed has increased, the core issues such as the comfort of head-wearing devices, the perfection of VR content development tools and content distribution channels have not yet been solved."

VR content dissemination channels are divided into online and offline. At present, online channel commercial liquidation mainly faces two major problems, one is that there are fewer users with VR headwear devices; the other is that there are fewer people willing to pay for content in China. Off-line channels have problems of scarcity of good content, poor operational capacity and high operating costs.

Roger calculates an account for reporters: Suppose a VR film investing millions of dollars is distributed to more than 2,000 screens in 200 VR cinemas or experience centers. Each screen is watched by 6-8 people every day, and the cost can be recovered in 3-5 months. At present, there are only dozens of VR cinemas in China, and the number of screens is small. It is difficult for a VR work to recover its cost through box office revenue. "In order to solve the difficult problem of commercial liquidity, Jaunt China will change this situation more through off-line operation."

"To enhance the operation capability of VR experience center, we should also pay attention to the needs of user segmentation." "The next step for VR offline experience stores is to segment the experience direction for target users, rather than an experience center covering all types," Raymond said.

Reproduced original articles, please note, reproduced from: VR Information Network

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