Future virtual reality (VR) technology will dominate the content industry, but because VR's viewing mode is very different from traditional movies, the film industry, including directors, actors, and everyone in the industry chain must change their minds. Now the VR industry is hot. China, China's VR market is expected to exceed RMB 55 billion in 2020. Many American animation masters have come to China to develop, and many VR startups have been born to prepare for China's VR prosperity.
According to the MIT Technology Review, Facebook bought Oculus VR for $2 billion in 2014, and the VR industry in China began to grow rapidly in the same year. Investors expect high-cost VR devices in the Chinese market. After 2015, There are already more than 100 VR helmet manufacturers, and now the industry is not just about hardware, but about software and storytelling.
China's VR market demand is strong, with a production value of RMB 55 billion by 2020. Now there are new VR applications that help to improve depression, as well as VR film editing software and VR animation companies. China is also the fastest-growing movie market in the world. In 2015, the box office revenue reached US$6.3 billion. American animator Kevin Geiger believes that China's movie box office is enough to support serious dramas. His team has begun to build VR entertainment in China. The content allows viewers to have other options beyond the flood of historical drama to think about social phenomena through movies.
Kevin Geiger worked as an animation engineer at Disneyland from 1995 to 2007. His work included Fantasia 2000 and Dinosaurs, and later served as director of computer graphics for Disney's first 3D animated film, Four Eyes. In 2008, he was invited to teach at the Animation Academy of the Beijing Film Academy. He believes that the Chinese film industry will move to VR faster than the United States.
He thinks that the biggest difference between VR content and traditional content is that the viewer watching traditional movies is looking directly at the screen, but the VR viewer does not need to keep looking at the same direction, and even the viewer may see the opposite direction of the action, so the movie The producer must find a way to tell the story. Geiger's solution is to let the audience freely explore the film, but at the same time bring the audience back to the common experience at a critical moment in order to keep the story moving forward.
But an American who has to do content in China must pay attention to cultural differences. For example, a Western writer will suddenly show his love to the heroine who is about to step into the auditorium. But the Chinese writer may make the male lead challenge the enemy, but never to the female. The protagonist shows love. There are also differences in business models. If the film is not completed, there will be insurance compensation investors in the West, but Chinese producers do not think it is necessary.
Now there are VR malls in China that offer shooting games and short film experiences. Every time you experience about $7, the business is very good. Eric Shamlin, executive producer of the VR film in 2015, said that China's VR mall may Becoming a place to launch exploratory content, he has also gone to China to find potential partners.
But it may take some time for the VR content to really break out, because it is not easy to find investors who are willing to fight, but also because the film industry is still looking for a narrative language suitable for VR, such as Beijing VR animation startup Sandman Studios. The founder said, “Although everyone is testing now, it is a very exciting process.â€
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