Hello world of VR, the 71st Cannes Film Festival is around the corner, and for the 3rd year in a row, we are building an open networking tool for VR professionals attending the Festival.

If you are a director, producer, writer, festival programmer, broadcaster, solutions provider, VR guru or otherwise involved in cinematic VR — and attending Cannes — we offer you an opportunity to connect with your peers from all over the world and let them know about your projects, demos, screenings, panel discussions & other events happening during the Festival.

Over the past two years, more than 180 respondents from 21 countries have joined the initiative, mapping the budding world of virtual reality filmmaking.

This map wouldn’t be complete without your voice. You can help us grow the community. …


Alice, the Virtual Reality Play © DV Mobile

After years of sidelining the international festival circuit, story-driven VR is finally emerging as an artform in its own right. On the occasion of its 74th edition, the Venice Mostra became the first “traditional” film festival to host a dedicated competition for immersive narrative pieces, providing a magnificent showcase for over 30 highly diverse international pieces that confirm the medium’s maturation. Here are our takeaways from Venice VR.


Kay Meseberg (Credit : Franziska Baur)

En préambule à l’édition 2016 des Cross Video Days qui met cette année l’accent sur la VR et la stratégie des diffuseurs, nous avons voulu en savoir plus sur les enjeux qu’elle représente pour la chaîne franco-allemande.

ARTE est présent sur le transmedia depuis une dizaine d’années. Ce qui est en train de se passer sur la VR et la vidéo 360° annonce-t-il une évolution en matière de contenus et d’expérience pour le spectateur ?

Le transmedia a joué un rôle très important, mettant l’accent sur l’innovation dans le média. Il a permis de réfléchir à la non-linéarité par exemple, avec l’émergence de plateformes comme YouTube ou Netflix, et d’envisager de nouvelles façons de raconter des histoires. ARTE a connu de nombreuses expériences à succès en travaillant l’innovation. L’émergence de nouveaux formats numériques en TV, comme l’ATSC


Kay Meseberg (Credit : Franziska Baur)

In the weeks leading into the 7th edition of the Cross Video Days which this year focuses on VR, we take a look at how 360° video and VR fit into the digital content strategies of key European players, starting with French-German network ARTE.

ARTE has been involved in transmedia for the past 10 years. Does the emergence of VR and 360° video herald an evolution in terms of content and user experience?

Transmedia has actually played an important role in shaping this, emphasizing the need for innovation in the TV medium. It has led us to think more about non-linear storytelling, which has bcome commonplace with platforms such as YouTube or Netflix, and to start envisioning new ways of telling stories. Through its focus on innovation, ARTE has had many successful experiences in transmedia. The advent of new digital TV formats such as…


Hello world of VR, the 69th Cannes Film Festival is around the corner, and we are building an open networking tool for VR professionals attending the Festival.

If you are a director, producer, festival programmer, broadcaster, solutions provider, VR guru or simply involved in cinematic VR — and attending Cannes — we offer you an opportunity to connect with your peers from all over the world and let them know about your projects, demos, screenings, panel discussions & other events happening during the Festival.

In just 24 hours, over 30 respondents have joined the initiative, from Belgium, Croatia, Denmark, France, Germany, India, Israel, Luxemburg, Switzerland, UAE, UK, and the USA, mapping the world of virtual reality filmmaking.

This map wouldn’t be complete without your voice. You can…


Couch Potato by ptooey (Flickr)

Les “nouvelles écritures” continuent de promettre au spectateur de prendre le contrôle de l’histoire. Mais en tant que public, est-ce vraiment ce que nous voulons ? Et les contenus en réalité virtuelle sont-ils vraiment prêts pour le prime time ?

Cela fait des décennies que le storytelling interactif cherche son public, à coups de narrations non linéaires qui ont plus tendance à le désorienter qu‘à lui offrir un supplément de liberté.

Bien sûr, le jeu vidéo parvient plutôt à tirer son épingle du jeu lorsqu’il s’agit de mettre le joueur au cœur de l’histoire. Ou plutôt au cœur de l’action. Ces 10 dernières années, tout un pan des narrations digitales auto-baptisé ‘transmedia’ a bien tenté de convaincre les spectateurs que le récit était désormais entre leurs mains. En vain.

Les interactions et les choix sont des apports intéressants lorsque les…


Couch Potato by ptooey (Flickr)

Digital storytelling keeps pushing the promise of putting the audience in control. But as viewers, how much do we really want that? And is VR content really ready for prime time?

Interactive storytelling has been around for decades, mostly driven by non-linear narratives that tend to confuse audiences rather than giving them more freedom.

Of course, videogames do a pretty good job at putting players inside the story. Or inside the action, to be more precise. Over the past 10 years, a whole scene of digital storytelling dubbed ‘transmedia’ has attempted to convince us viewers that being in control is the new norm. It’s not.

Interaction and choices are interesting additions once the preliminary excitement has kicked in. But let’s face it, most of the time you don’t feel like being…


Image by moominsean (CC)

A quick overview of the key issues in immersive storytelling, from the viewer’s and the creator’s perspective.

In a little over a year, the emergence of creative VR projects has deeply disrupted the digital entertainment landscape. Although virtual reality isn’t a new process, all the necessary conditions (artistic, technological and economic) seem to be gathered for VR to stay, and not be just another flash in the pan.

While some worry about a Gartner hype cycle all over again, others feel both creators and audiences are showing enough enthusiasm for VR to revolutionize film, videogames, television and the web. …


Image: Quasar by FIELD — Ars Electronica (CC)

Un magazine en ligne consacré aux contenus immersifs, à la croisée du cinéma, du jeu vidéo et des expériences interactives.

En novembre 2014, James Cameron confiait au magazine anglais Empire, au sujet des trois prochains volets d’Avatar, « Vous allez vous chier dessus, la bouche grande ouverte. » Le même jour, nous faisions notre première expérience de réalité virtuelle moderne, et le choc fut immense. A mille lieues des expériences pixélisées que nous avions pu faire dans les années 90, nous avions, pour la première fois, l’impression, la sensation d’être téléportés dans un autre monde. Le terme d’univers narratif prenait enfin tout son sens.

Avec un millier de questions à la clé. Quels types d’histoires allait-on pouvoir vivre avec un…


Image: Quasar by FIELD — Ars Electronica (CC)

An online magazine dedicated to immersive content, at the crossroads of film, videogames and interactive experiences.

In November 2014, interviewed by British magazine Empire, James Cameron said about the upcoming sequels to “Avatar”: “You will shit yourself with your mouth wide open.” On that same day, we experienced our first shot of modern virtual reality, and it blew our minds. Time to say goodbye to the pixelated experiences we had in the 90s. For the first time, it seemed like — felt like — being teleported into another world. The term storyworld was finally making sense.

It also raised thousands of questions. What kind of stories would we get to experience with such a powerful medium…

imm3rsive

We dig VR storytelling & immersive entertainment. Reviews, opinion & interviews, from Bucharest with ❤. English & Français. https://imm3rsive.com

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