This fundamentally changes his role. He becomes a co-constructor of the story. he is at its center. The design of an immersive experience must first think about this position of the user. How can we put them at the center of a mia like television today? How can we involve them. The co-construct with them? One possible answer is the proposal of immersive and interactive experiences. The develop at France Télévisions within the Innovation department. The in the Narrative Research department. The whose objective is to explore the storytelling of tomorrow with new technologies.
By Jean-Paul Chevreux and Yves-Marie Poirier
The France Télévisions Innovation Department From business to consumer database November 4 to 6. The the 6th ition of VRDays Europe . The a trade show dicat to virtual. and all their variations. The which are group under the term Extend Reality or XR. The physical part of the show. Amsterdam was ruc to a minimum and most of the conferences or round tables were via videoconferen e.
Even the exhibitors’ stands were virtua the augment and mix
On the program. immersive storytelling serious games. With a stanley milgram’s experiment new theme in this year of pandemic. the contribution of virtual technology to telework and remote collaboration. A good prefiguration of what the world of work of tomorrow could represent. Virtual production The use of real-time 3D engines like Epic Games’ Unreal Engine or Unity. The originally intend for video games. The is increasingly present in television and film production.
This allows directors to obtain
The near-final rendering of the scene without waiting for belgium business directory post-production. The or thanks to L walls that directly display the 3D decor. The Mandalorian . Volumetric video is growing and the increasing quality of capture and rendering methods makes it a promising tool for filming people in a non-intrusive way in 3D.
