American Cinematographer - March 2017 - 61
sort of Memento style, to piece the story
together on their own. If it's a noir piece
about a private eye, do you follow the
private eye, or do you get to follow the
femme fatale in her own storyline, or
the cop on the beat? That really interests
me - can all of those storylines be
resolved into an ending that makes
sense the way that cinema resolves itself
today? We haven't yet written a way to
do the hero's journey like games do, with
accomplished goals and interactive
storylines.
Mansouri: We've seen a lot of use
in healthcare, social causes and documentaries. We've also been looking
at the entire history of cinema - how it
all started and observing how it relates
to VR. At the onset, cinema subjects
were very short, then we learned to pan
the camera, then a filmmaker said,
'Wouldn't it be great if we cut from
outside a door to inside?' and we had
editing. A lot of these techniques are
coming along for VR in a very parallel
way. We're coming in with restrictions
and seeing what we can and can't do,
and lots of really exciting concepts are
being formed.
We don't really know what this
medium is yet, so we have to be
cautious and not try to carve it into
rules. In film, you started out with tons
of rules - you can't pan, you can't cut to
a close-up, etc. - that were eventually
broken. In VR, we're in the phase
where subject length and not moving
the camera are technical limitations
we'll overcome as well.
Wagener: There are a lot of obvious areas outside of entertainment, such
as education, where VR will play a
major role. As a medium, VR has a lot
of promise beyond promotional and
marketing content. When filmmakers
like Michael Bay and J.J. Abrams really
start to look into this format, we'll see a
change in the content quality. We often
hear about each year being the year of
VR, but I think it's more about steady
progress until those main contentmakers switch gears. Then you'll see VR
experiences with a much deeper
emotional aspect.
Spohr: You're seeing VR applied
not just to advertising and traditional
marketing but also to medical and training, which traditional entertainment has
never really interacted with before. The
next step is linear storytelling; we're not
there yet. We're trying to make these
experiential moments more integrated
into the story.
Audiences will look to VR as
an integration between linear story-
telling versus the choose-your-ownadventure structure of a videogame. VR
has the potential to move beyond even
that, but there's a danger in projecting its
trajectory too much. It's like the advent
of zoom lenses and fast film stocks in
the Seventies; those were brand-new
technologies that, in the hands of capable filmmakers, pushed storytelling
capabilities further down the road.
Stromberg: I'm working with a
http://www.theasc.com
American Cinematographer - March 2017
Table of Contents for the Digital Edition of American Cinematographer - March 2017
Contents
American Cinematographer - March 2017 - Cover1
American Cinematographer - March 2017 - Cover2
American Cinematographer - March 2017 - 1
American Cinematographer - March 2017 - 2
American Cinematographer - March 2017 - Contents
American Cinematographer - March 2017 - 4
American Cinematographer - March 2017 - 5
American Cinematographer - March 2017 - 6
American Cinematographer - March 2017 - 7
American Cinematographer - March 2017 - 8
American Cinematographer - March 2017 - 9
American Cinematographer - March 2017 - 10
American Cinematographer - March 2017 - 11
American Cinematographer - March 2017 - 12
American Cinematographer - March 2017 - 13
American Cinematographer - March 2017 - 14
American Cinematographer - March 2017 - 15
American Cinematographer - March 2017 - 16
American Cinematographer - March 2017 - 17
American Cinematographer - March 2017 - 18
American Cinematographer - March 2017 - 19
American Cinematographer - March 2017 - 20
American Cinematographer - March 2017 - 21
American Cinematographer - March 2017 - 22
American Cinematographer - March 2017 - 23
American Cinematographer - March 2017 - 24
American Cinematographer - March 2017 - 25
American Cinematographer - March 2017 - A
American Cinematographer - March 2017 - B
American Cinematographer - March 2017 - 26
American Cinematographer - March 2017 - 27
American Cinematographer - March 2017 - 28
American Cinematographer - March 2017 - 29
American Cinematographer - March 2017 - 30
American Cinematographer - March 2017 - 31
American Cinematographer - March 2017 - I1
American Cinematographer - March 2017 - I2
American Cinematographer - March 2017 - 32
American Cinematographer - March 2017 - 33
American Cinematographer - March 2017 - 34
American Cinematographer - March 2017 - 35
American Cinematographer - March 2017 - 36
American Cinematographer - March 2017 - 37
American Cinematographer - March 2017 - 38
American Cinematographer - March 2017 - 39
American Cinematographer - March 2017 - 40
American Cinematographer - March 2017 - 41
American Cinematographer - March 2017 - 42
American Cinematographer - March 2017 - 43
American Cinematographer - March 2017 - 44
American Cinematographer - March 2017 - 45
American Cinematographer - March 2017 - 46
American Cinematographer - March 2017 - 47
American Cinematographer - March 2017 - 48
American Cinematographer - March 2017 - 49
American Cinematographer - March 2017 - 50
American Cinematographer - March 2017 - 51
American Cinematographer - March 2017 - 52
American Cinematographer - March 2017 - 53
American Cinematographer - March 2017 - 54
American Cinematographer - March 2017 - 55
American Cinematographer - March 2017 - 56
American Cinematographer - March 2017 - 57
American Cinematographer - March 2017 - 58
American Cinematographer - March 2017 - 59
American Cinematographer - March 2017 - 60
American Cinematographer - March 2017 - 61
American Cinematographer - March 2017 - 62
American Cinematographer - March 2017 - 63
American Cinematographer - March 2017 - 64
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American Cinematographer - March 2017 - Cover3
American Cinematographer - March 2017 - Cover4
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