New panoramic film brings interactive technology to mobile audiences
A student from Imperial College Business School has helped to develop a new mobile app that could change the way films are viewed on smartphones.
Chris Corbishley, who has just completed his MSc in Innovation, Entrepreneurship and Management at the Business School, worked with fellow filmmakers, Leo Bridle and Leo Powell to produce the app, which introduces a combined cinematic and gaming experience to iPhone users.
In order to demonstrate the effectiveness of the technology behind the app, the trio devised a movie called ‘In Limbo’ that was set in the lobby of the Business School. The film follows the lives of eight characters as they pass their time in an airport departures lounge. However, instead of sitting back and passively watching their stories unfold, the application enables viewers to select from a variety of narratives as the scene plays out around them.
By moving their phones left or right, viewers dive into one of five unfolding narratives. They include an irate wife quarrelling with her unfaithful husband and a travel-writer who recounts stories of previous voyages. Through watching the film many times and from multiple angles, the audience can slowly unravel how these characters lives are intertwined and why they are waiting “in limbo.”
“There’s nothing on the app market that effectively merges 360 degree technology with narrative filmmaking,” Chris commented. “The app represents a more active way of consuming media content. It challenges the passive nature of cinema by injecting a gaming quality to the world of film.”
Chris, Leo Bridle and Leo Powell are partners in the film company Full Circle Interactive. They shot the film using camera software that is based on Google Street View technology.
The camera consists of five lenses and has been adapted to capture its surroundings at 25 frames per second, a speed required to make a film. The images are then stitched together and the audio is embedded to create a film environment the user can explore through iPhone’s built-in motion detector.
The team will be displaying their app to the public during the Digital Shoreditch Festival on Tuesday 28 May from 9.00am to 8.00pm from 10.00am to 7.00pm.
TED
I found that the idea of cinema for the blind was very unique and thinking more about it i am surprised that this idea has never been thought about before. However by then watching the video i realized it was mainly the idea of audio description which i have seen in cinema now a days. The idea that both blind and vision people can watch movies together in the cinema was a great idea to bring everyone together. They discovered they would give the blind headphones to listen to the audio description while not distracting the visual people sound. However, it was proven much harder than i thought as creating audio description is very tedious and time consuming.I think audio description should be available all over the world as the blind are disadvantaged for many films that aren't possible for them to watch.
http://www.mediaweek.co.uk/article/1219819/media-answers-innovation-challenge-real-time-dooh-trading
New ‘Screen X’ technology offers 3D effect without special glasses
BUSAN (SOUTH KOREA): A new format that gives movie-goers a panoramic 270 degree view will be rolled out by South Korea's biggest cinema chain this month, using the walls of theatres as additional screens.
Screen X, developed by cinema chain CJ CGV, was on show at the Busan International Film Festival last week in the premiere of a 30-minute spy thriller "The X" , directed by Kim Jee-Woon , a film
commissioned to showcase the expanded three-screen format.
Screen X, developed by cinema chain CJ CGV, was on show at the Busan International Film Festival last week in the premiere of a 30-minute spy thriller "The X" , directed by Kim Jee-Woon , a film
commissioned to showcase the expanded three-screen format.
Kim, who directed this year's Arnold Schwarzenegger action adventure "The Last Stand" , said the technology brought a more immersive experience to the cinema.
He likened it to a "horizontal" version of IMAX, a format that offers greater size and resolution than conventional film.
Screen X requires filmmakers to use three cameras to shoot the same scene simultaneously from different angles to create the wider "surround" effect.
"The space in front of you is filled up completely," said Kim. "It provides a new depth for viewers."
"The X" showed off the capabilities of the format in a chase sequence and a dream sequence that seemed to envelop the cinema. Audiences at Busan watching "The X" seemed at first confused whether to look left, right or straight ahead before settling in to the experience.
"It was really fun. I personally don't like 3D or 4D films but this made me feel like I was inside the film," 19-year-old student Jung Gwang-Soo said.
CJ CGV, which also has interests in China, Hong Kong and the United States, has been testing the technology on advertisements, but has remained tight-lipped on installation costs — reportedly between $139,300 and $185,800 per screening room, according to Dow Jones Newswires.
Installation will not be without logistical challenges, given that the effect is lessened in seats positioned to the sides of the cinema.
By the end of October the system will be available in 31 cinemas around South Korea in readiness for a series of planned featurelength productions to be rolled out over the next 12 months.
While Kim said he was excited to be able to explore the possibilities of the new technology — and freely admitted he was more concerned with effects than plot in his first production with it — other directors showcased technology they believe allows the audience to focus more on the stories they are telling. The Israeli-French production "Ana Arabia" , which looks at life in a Jewish-Arabic community, was one of a number of new films screening in Busan that used advanced steadycameras to enable directors to shoot in one single take.
In "Ana Arabia's" case, that was for 74 constant minutes while the Iranian film "Fish & Cat" managed to a single take of 134 minutes. "Ana Arabia's" veteran director Amos Gitai said the technology helped filmmakers engage with their audiences through providing a sense of intimacy not available when using multiple cameras and edits.
He likened it to a "horizontal" version of IMAX, a format that offers greater size and resolution than conventional film.
Screen X requires filmmakers to use three cameras to shoot the same scene simultaneously from different angles to create the wider "surround" effect.
"The space in front of you is filled up completely," said Kim. "It provides a new depth for viewers."
"The X" showed off the capabilities of the format in a chase sequence and a dream sequence that seemed to envelop the cinema. Audiences at Busan watching "The X" seemed at first confused whether to look left, right or straight ahead before settling in to the experience.
"It was really fun. I personally don't like 3D or 4D films but this made me feel like I was inside the film," 19-year-old student Jung Gwang-Soo said.
CJ CGV, which also has interests in China, Hong Kong and the United States, has been testing the technology on advertisements, but has remained tight-lipped on installation costs — reportedly between $139,300 and $185,800 per screening room, according to Dow Jones Newswires.
Installation will not be without logistical challenges, given that the effect is lessened in seats positioned to the sides of the cinema.
By the end of October the system will be available in 31 cinemas around South Korea in readiness for a series of planned featurelength productions to be rolled out over the next 12 months.
While Kim said he was excited to be able to explore the possibilities of the new technology — and freely admitted he was more concerned with effects than plot in his first production with it — other directors showcased technology they believe allows the audience to focus more on the stories they are telling. The Israeli-French production "Ana Arabia" , which looks at life in a Jewish-Arabic community, was one of a number of new films screening in Busan that used advanced steadycameras to enable directors to shoot in one single take.
In "Ana Arabia's" case, that was for 74 constant minutes while the Iranian film "Fish & Cat" managed to a single take of 134 minutes. "Ana Arabia's" veteran director Amos Gitai said the technology helped filmmakers engage with their audiences through providing a sense of intimacy not available when using multiple cameras and edits.
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