DIGITAL MARKETING
The HTC vive has controllers for an interactive experience
for a digital ticket, but you’d have a live feed. I think the music industry is one of the simplest ways to exploit the potential of what you can do with VR” explains Jay Short, new business and sales director at Inition. Lipman is trying this very
approach, and planning to fi lm its Japanese artist, Kyari Pamyu Pamyu’s live show at Koko, London this July in tandem with Infi nity 360 and Frameless Adventures. However, we may be some way from the live streaming that Short suggests. He goes on to say that “people just assume it’s a ready-made system; that you just whack a camera down at the front row of a gig, sell tickets and it’s done. It’s nowhere near that simple.” Lipman sums up: “The post production is a lengthy, lengthy process.”
Short explains: “It’s all about the
stitching. The immense amount of shots involved to make the VR experience successfully 3D are all stitched together to create the 360 experience – but this takes time. The only camera currently able to assist the process is the Nokia Ozo, which runs around £60,000 – a very pricey solution."
With such high costs for the
production gear – and, of course, for the headsets in the hands of the
consumer – it becomes less and less likely that your target demographic will be getting into the headsets and experiencing the content. Not everybody has access to an expensive headset, nor the computer power required to run one. The closest they can come is the Google Card – which is great, but runs solely off of the power in your smartphone; something which simply does not measure up to something like the Oculus Rift or the Hive.
Which begs the question – is the
tech really ‘there’ yet? Currently, Short thinks that the impressive new tech overshadows the fl aws. “The immersive nature of VR is so powerful that it papers over the cracks in terms of limitations on what the hardware can do,” he says. But much like all its predecessors in tech, this eff ect won’t last long. Consumers are all too aware of high resolution screens and high quality technology, and will eventually begin to make the comparison – not to mention the recurring issue of motion sickness in some headsets caused by the delay in the response rate when you turn your head. Resolution, however, seems to be the biggest problem with VR right now. “Think about how many pixels
The HTC Vive
requires an NVIDIA GeForce® GTx970 CPU or higher
your TV has,” clarifi es Gamble “and then imagine that TV is pushed right up against your face; you’d see all those pixels.” However, throwing more pixels at the problem won’t be an instant fi x. This will then require higher powered computers to run the headsets, and ultimately make the headsets too heavy to realistically wear for long periods of time. Does this mean that we shouldn’t be investing in VR as a marketing tool? It’s a tenuous time. As Lipman says: “I think it’s going to be to your detriment if you hold back.” And whilst both sides are a little too far from where they need to be, “everything feels like if everybody made that one step, it could be great,” Gamble says. One thing’s for certain – and that is that marketers need to be educating themselves on the possibilities (and limitations) right now, and ready to pounce if this new tech takes hold. But for now, it still runs the risk of going the same way as 3D TV and Apple Watches: relegated to the collections of technophiles and early adopters - and not much else.
With thanks to WeMakeMovies
OnWeekends.com for access to the Trespass x Mahogany event.
43 issue 28 summer 2016
Words: Georgia Sanders
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68
