walls. By donning headsets they
were taken into a CGI recreation of
the gallery, filled with her
paintings, and guided, and
encouraged to use hands-free
controls to watch additional video,
or reveal under-sketches of the
finished oil paintings.
AMACHINE TOMAKEUS CARE
Our third proof-of-concept space is
Shakespeare 360
, a scene from
Shakespeare’s Twelfth Night shot in
an infinity studio and green-
screened into a 360-degree still
image of an English garden. Here
the aim is to put viewers in the
middle of a performance in a way
that could never be achieved live.
They are surrounded, immersed, in
both images and audio. As with
Hong Kong Unrest
and De Re
Gallery the user has an interactive
choice: which actors to follow and
when. They have a unique seat in
the house, one normally only
afforded to a director in rehearsal.
I hope that all immersiv.ly’s
spaces demonstrate that VR is a
serious medium for news. We have
been inspired by the example, and
high seriousness, shown in the
pioneering work of Nonny de la
Peña (in the CGI recreation of news
events using real audio and witness
statements) and Chris Milk (in
festival-standard news
documentaries).
Chris Milk put the case for the
whole platform well in a TED talk
in early 2015. Virtual reality, he
said, “connects humans to other
humans in a way I have never seen
in any other medium…It’s a
machine, but through this machine
we become more compassionate,
more empathetic, and ultimately
we become more human.”
It’s a machine to make us care.
And one that can generate users
and revenue for publishers and
broadcasters.
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