The famous British documentary director Oscar Raby used VR technology to shoot the documentary of the 1916 Irish Easter Uprising and was considered as the future of the VR documentary. Jamie Feltham, a reporter for the US Virtual Reality Vertical Media UploadVR, recently watched this VR documentary and considered it of great significance.
This is 1916. I am standing in the streets of Dublin, Ireland, where war is rampant. The thick clouds pressed tightly against the gray sky, which was caused by the smoke caused by the war. Fierce gunfire and explosions are deafening, and militia forces are looking for bunkers behind a nearby wall. Standing next to me is William McNieve, a young soldier who survived this historic battle. He fought to fight for national independence.
In fact, I didn't really participate in this battle, but I was in an obsessive VR scene. The above scenario is just a fragment of the VR documentary "Easter Rising: Voice of a Rebel". The VR documentary was created by the British Broadcasting Corporation BBC and Crossover Labs and was directed by Oscar Raby of VRTOV, a British VR video studio. If you own the Oculus Rift, you can watch it directly on the BBC Taster website.
In the fascinating 12-minute VR video, Mike Nive recounted the real scene of the battle in the form of embedded narratives through tapes. Following his literal description, we seem to experience the fierce battle that began on April 24th for 6 days. The most important thing is that the effects of this narrative will not be forgotten quickly. Even after a few weeks, I can still remember the lifelike pictures and exciting moments. If we want to prove the value of documentaries in the field of VR, the Easter Rising will be the best example.
Rabbi has a wealth of experience in VR. In 2014, she won the Sheffield Documentary Film Festival award with "Assent." He is actively promoting the use of technology as a tool for storytelling. At this year's festival, I talked with Rabbi and he corrected many of my understandings. First, in this documentary, there is no concept of “cameraâ€. Rabbi and his team are puzzled by the use of traditional concepts to define the VR new media narrative. He said: "This involves the fundamentals of film production. In a VR documentary, the camera may be something else, such as the user's eyes."
In "Easter Uprising", when I wandered on the streets of Dublin, I really understood the meaning of Rabbi. In his opinion, dirty sidewalks and various types of buildings can no longer be called "scenes" because I (representing the audience) are in it. Not only is it not controlled by the director, I can also control the perspective and focus of the story. Rabbi said: "We want to be able to interact with users. They can not only stare around and look around, but must really understand the nature of the story through the behavior." He wants viewers to "own" their own experience, not passive Follow.
In fact, "reasoning" is an important factor in the VR documentary production process. Rabbi listened to Mike Nive's account and recompiled it. Comparing the VR documentary creation process with the artist's creation of the same subject oil painting, he said: “An artist uses a brush to paint on a canvas. This is like an explanation, but it is not a true description of the whole event. And we It's about reconstructing the event itself and let VR talk about the facts.â€
Of course, the visual effects of this experience are not real. This reminds me of The Night Café, which has the quality of oil paintings. It is just a sense of separation between the physical objects and the environment, and it's a fragmentation of people. But we can connect all this through McNeiver's story. stand up. In other words, the scene becomes very clear, even if you take off the virtual reality helmet for a long time, that kind of real feelings still linger in your heart for a long time.
Rabbi explained that in the documentary, the distance between the audience and the picture is very clever, which requires a "sweet spot", usually 1 to 4 meters away from the audience. Rabbi said: "This is the part of the face shining in VR. You can see the character's eyes, face and even texture. Even if they are not real people, but you still feel that they are standing around."
This makes the incident more humane, and is no longer limited to the narrative in the textbook. Even now, my most profound memory of the "Easter Uprising" is that it is full of chill: Soldiers watch as their hope grows more and more, and their firm eyes slowly freeze. This makes people feel painful for a few minutes near the end.
Perhaps, after the VR technology boomed, the "Easter Rebellion" will gradually fade, but this documentary is worth keeping in mind. It has extraordinary significance for the future of VR documentaries and VR education. I can make eye contact with people and create scenes that are deeply embedded in the brain. I turned to see the faces of the soldiers. When the explosion sparked dazzling white light, my eyes widened. These things really happened to me. I remember them just like remembering what happened in real life. This is the power to use VR to reconstruct these historical events.
Looking ahead, Rabbi hopes VR documentaries will continue to grow. He is very much looking forward to watching a 90-minute VR movie. If wearing a virtual reality helmet for a long time may feel uncomfortable, it can be handled in diversity.
Personally, I can't help but wonder how we can make the recent launch of "Cartel Land" into VR. Imagine that you can reproduce the most dangerous real-world environment in the world today and use it as a tool to arouse people's awareness of some of the world's worst realities.
The advantages of the "Easter Rising" that can be touched by history can not help but let us want to see more VR documentaries, such as the two world wars, the assassination of President Kennedy and other historical events. With VR, the real world is still colorful, and history is equally compelling.
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