Virtual Reality
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  • GAME ON: Making Art in The Age of COVID-19

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    A few days ago, I got a message from former NYFA Games student Shaquan Ladson (1-Year Game Design Program, 2017), who finds himself quarantined in the rural Pacific Northwest. “This time at home is making me miss being around good company and creatives,” he wrote me. We texted for a bit and I advised him to see the wealth of opportunity in this time alone. What will the world do, I wonder, on this global artist’s retreat?

    Those of us lucky enough to be stuck at home during “Borentine” (as a friend so aptly dubbed this time) have a unique opportunity to flex our creative muscles, and create without the usual restrictions of time and commerce. 

    While the news inundates us with frightening stats and global uncertainty, and we marvel at the courage of healthcare professionals and those services we consider essential for our modern life, humanity has been connecting in the most inventive and intimate ways. We’re getting our groove on at home with Instagram Live DJ sets from people like celebrity darling @DNice and my hometown hero @DJ_Oso_Fresh, as well as exploring the magical self-expression of distance nightlife through #ClubQuarantine

    TikTok insanity has gripped everyone from Jane Fonda’s 9 to 5 send-up to my in-laws’ happy Birthday Abuela dance. Let’s hope you’ve seen some variation of the high fashion Trikini for summer 2020. We’ve gotten weird, people, and I. AM. HERE. FOR. IT.

    And that’s all happening when we’re not scrolling, streaming, or gaming. According to SuperData Research, we spent a record $10 Billion in March on digital games – that’s the biggest monthly expenditure on games, ever. Nintendo’s brand new Animal Crossing: New Horizons sold 5 million units in March alone – the most any single title has sold in one month. It’s no surprise that a lot of that spending is on MMORPGs and networked multiplayer games, across all platforms. When we can’t be together, we play together.

    I’m not gonna lie, my Farmville 2: Country Escape obsession had definitely cooled until I was forced to find ways to disconnect from all this high-intensity family time. While I farm away 5 minutes at a time, my students are playing hours of FIFA20, Animal Crossing: New Horizons, and reliving their youth through fan-supported servers of  Club Penguin. Other worthy titles include:

    • Armchair epidemiologists and politicians have a chance to save the world in Pandemic the board game.
    • Bring your darkest sense of humor to the browser based Pandemic 2, where you play as a virus that aspires to become a species-decimating disease. 

    Photo Credit: Club Penguin Online

    Whatever your pleasure, games are a way for us to connect, to comfort, and to escape.

    I don’t want to sound trite: millions of people are losing their jobs, many are facing life-threatening illness and death on a daily basis, and all the burdens we struggled with before feel a lot heavier now. 

    The beauty of creativity is that it is in you, in me, and in us. It’s in the ways we are providing and caring for each other, and the ways we’re finding laughter even in grief. So whether you’re alone in the woods, or stuck in your 5th floor walkup, you have something inside you that deserves to be seen and heard. If games are your artform, I hope you’ll join us in making something meaningful and magical.

    Classes in our 1-Year Conservatory, BFA, and MFA programs start every quarter. Click here for more info.

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    April 28, 2020 • Game Design • Views: 1308

  • Award-Winning Director & Cinematographer Liz Hinlein Joins New York Film Academy (NYFA) As Creative Director of Filmmaking & Cinematography

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    New York Film Academy (NYFA) is delighted to announce the addition of award-winning director and cinematographer Liz Hinlein to our faculty as the new Creative Director of Filmmaking & Cinematography. Over the course of her career, Hinlein has made a name for herself in a traditionally male-dominated industry as a passionate, talented filmmaker and director of photography whose work has spanned the fields of feature film, advertising, music video and VR/AR/XR.

    Born in Philadelphia and educated in the Quaker school system, Hinlein earned her MFA in Cinematography from the American Film Institute and her BFA in Film & Television from NYU’s Tisch School of the Arts. Hinlein’s debut feature film, Other People’s Children, earned several awards on the film festival circuit—including Best of the Fest at the Columbia Gorge International Film Festival and Best Director at the NYLA International Film Festival—and is currently available to stream on Amazon Prime and iTunes.

    Liz Hinlein

    NYFA Filmmaking & Cinematography Creative Director Liz Hinlein

    Hinlein’s wealth of experience and passion for innovation makes her a perfect fit for New York Film Academy, which boasts a diverse and international student body from over 120 countries. With the film industry hungrier than ever for filmmakers and visual artists from every background, Hinlein will be an invaluable asset to NYFA Filmmaking and Cinematography students looking to express the world their stories in their own ways.

    “Stepping in to my new role as Creative Director of the Film and Cinematography departments at New York Film Academy is an exciting new challenge,” says Hinlein. “My vision is to elevate the departments and expand their reach as a dynamic creative hub for creators, filmmakers, and visionary thinkers in New York. We’re building a meeting ground where students and the creative community can nurture ideas, collaborate, and learn from one another. NYFA’s Film and Cinematography departments are a refreshing win-win for students and the industry alike.”

    Hinlein has been at the forefront of a rapidly-evolving visual medium. Recently, her VR film for Byton Auto was nominated for Best Branded Entertainment/Commercial at the 2019 CES VR Fest. In 2018 she directed Accenture’s VR film, Behind the Style, winning that same award. Most recently, Hinlein spent time China writing and directing The Dream Factory, a series of seven epic branding films for the prestigious Sichuan Film and Television University, using Google Translate to navigate her way through the country. Currently Liz is in pre-production on OSAGE ’85, a groundbreaking immersive documentary experience. 

    In television, Hinlein was selected for the DGA DDI TV Directing Program, the Sony Diversity Program and the Viacom Diversity Program. Her visual expertise comes from a background of directing commercials and music videos for top brands, including Dove, Lifetime, Revlon, Gillette, Maybelline, A&E, and MAC Cosmetics. Additionally, Hinlein has created films for superstar musicians such as Mary J. Blige and Britney Spears, and has been commissioned to photograph Quincy Jones, Incubus, and Fishbone. 

    Hinlein’s success in multiple fields also reflects NYFA’s commitment to combating gender inequality in the entertainment/media industry by educating and training more women to fill important roles on film and television sets. With a student body that is nearly 50% women, one of Hinlein’s first initiatives as Creative Director will be to form a NYFA Film Femme Club, where students can come together to inspire genuine conversation, encourage self-confidence, collaborate to create healthy media, and establish platforms that empower women to generate a positive impact on the entertainment industry.

    New York Film Academy looks forward to the exciting energy and ideas filmmaker Liz Hinlein will share with our Filmmaking and Cinematography students!

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  • New York Film Academy (NYFA) Game Design Alum Guillermo Quesada Helps Develop The Lion King VR Set

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    Magnopus, the visual development company that employs New York Film Academy (NYFA) Game Design alum Guillermo Quesada, helped create Disney’s new remake of The Lion King in an innovative, groundbreaking way—with VR.

    Guillermo QuesadaThe company pioneered a virtual reality system that allowed director Jon Favreau (Iron Man), director of photography Caleb Deschanel (The Passion of the Christ), and The Lion King crew to shoot a film that used extensive computer imagery in a physical three dimensional space. By mimicking what it would be like to shoot on a live action soundstage, The Lion King crew used the VR tools developed by Magnopus to place themselves in a virtual landscape of the African savannah and visualize how their animal characters would interact in the space.

    According to the io9 piece that went into extensive detail about the process, 90 percent of The Lion King was created in a nondescript warehouse on a backroad in Los Angeles. Monitors and VR kits, mostly HTC Vive headsets, were placed around a large open space—with the virtual savannah existing only in code.

    NYFA alum Guillermo Quesada, originally from Spain, joined the company’s large team of bright, young, VR and AR developers after graduating from the NYFA MFA in Game Design program at our Burbank-based campus. While studying at NYFA, he was taught the art and craft of game design and storytelling at the professional level, acquiring the skills of game prototyping, playtesting, iteration, presentation, collaboration, and how to develop software using industry standards—including workflow, multiple platforms, and coding.

    “At NYFA Guillermo was pushing boundaries and innovating,” recounts Matt Galuppo, NYFA Associate Chair of Games and Animation. “He was the first student to produce a full VR game and make it part of his game showcase. He went on to use the skills he learned developing that game to develop tools for the film industry.”

    After months of post-production, Disney’s latest remake was released in theaters on July 19 and boasted an all-star cast that included Donald Glover, Beyoncé, James Earl Jones, Chiwetel Ejiofor, Alfre Woodard, Seth Rogen, Billy Eichner, and John Oliver, among several others. The film was a commercial juggernaut, becoming Disney’s fourth film of 2019 to gross over $1 billion in less than a month.

    New York Film Academy congratulates NYFA MFA in Game Design alum Guillermo Quesada and the entire Magnopus team on giving Disney’s filmmakers the tools to bring The Lion King back to life!

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    August 6, 2019 • Game Design, Student & Alumni Spotlights, Virtual Reality • Views: 1088

  • New York Film Academy (NYFA) VR Game Design Alum Pilar Aranda Bada Featured in Play NYC’s Graffiti Games Showcase

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    New York Film Academy (NYFA) VR Game Design alum Pilar Aranda Bada debuted a new VR game at Play NYC, New York’s first and largest game convention. Aranda Bada was one of a select few developers invited to create new pieces for Graffiti Games, an installation at the event that invited first-generation immigrants to creatively express their culture and experiences through their work.

    Together with teammate Saúl Peña Gamero under the name Alpaca Games, Aranda Bada created one of the installation’s “standout” entries. The game, The Llama Express, invites players to ride a train through the fictional country of Esperú while feeding fluffy llamas along the way with traditional Hispanic food like sausages and beets. The VR game features a soundtrack of traditional Spanish music, and received praise for being an “endearing” way of honoring the creators’ cultural roots.  

    The installation was brought to life in six opera boxes in Manhattan Center’s historic Hammerstein Ballroom, where they were enjoyed by as many as 10,000 participants. In addition to the showcase in New York, the games were displayed on the event’s Twitch stream for fans around the world.

    Born in Valencia, Spain, Aranda Bada is a Mixed Reality developer at Planeta.cc, a product studio focused on sound and media. In 2016, she graduated from NYFA’s pioneering VR Game Design program, which focuses on concept development, VR design, and production of interactive VR experiences, games and 360-degree films. She holds a B.S. in Industrial Design, an M.A. in Graphic Design, and an M.M. in Communications. She specializes in immersive games and experiences in both virtual and augmented reality environments.

    After the success of the game at the installation, the teammates both expressed interest in continuing to develop The Llama Express for market, though any possible release of the game would likely be far off.

    The New York Film Academy congratulates Pilar Aranda Bada on her success, and looks forward to seeing her future projects!

     

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    October 10, 2018 • Game Design, Virtual Reality • Views: 904

  • UploadVR Highlights New York Film Academy VR Faculty Member Hugh McGrory’s Company Datavized

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    New York City-based startup Datavized Technologies, Inc. is a media studio focused on Virtual Reality production and consultancy. The company, founded by New York Film Academy Virtual Reality Instructor Hugh McGrory, combines the immersive power of virtual reality with the seamless delivery of the mobile web. Datavized strives to build smart but accessible ways to experience cities. “At Datavized we build proprietary software tools using WebVR — virtual reality experiences that run on the web,” McGrory summarizes.

    McGrory and his company were recently featured in UploadVR, a leading digital virtual reality publication that was founded in 2014 in San Francisco. The article discusses Datavized opening beta access for their product after three years of development as well as the company’s presence at Data for Development Festival.

    Datavized Yellow Taxi

    Datavized NYC Yellow Taxi Example

    Datavized’s web-based drag and drop tools allow users to effortlessly turn spreadsheets into interactive 3D maps. The map above allows users to pare through country-by-country life expectancy between the years 1800 and 2015. Below is a map using NYC Yellow Taxi trip data that allows users to fully immerse themselves in New York City. In March 2018, the company announced plans to release a virtual reality air pollution visualization at the Global Partnership for Sustainable Development Festival in Bristol, United Kingdom. In December, Datavized appeared at the United Nations Environment Assembly.

    Datavised Earth NYFA

    Life Expectancy Over Time Worldwide

    McGrory explains the appeal of his company’s tools: “The technical baseline is already there with WebVR being part of web browsers like Chrome, Firefox, Safari, and on both Android and iOS for phones.” He continues, “But people don’t see it yet because they’re still viewing the web on 2D screens. The next step is tools and content for the immersive web.” McGrory excitedly describes the future of the medium, “This intersection of 3D, VR and the Web is exciting. He cautions against making rash comparisons to other recent technological advances saying, “This is not like moving from film to tape or VHS to DVD. It’s a big leap that’s more comparable to the transition from radio to TV.”

    As for any concerns about Datavized working better on certain devices compared to others, McGrory explained to UploadVR, “Datavized has been coded from the ground up for optimal performance across devices.”

    McGrory is currently a faculty member for the New York Film Academy’s New York campus. He is an award-winning director/producer and his past projects include serving as executive producer for Northern Ireland Screen/UK Film Council’s Deviate project and as filmmaker in residence at CINEMA Microscopy Lab, Yale University School of Medicine.

    See a video of Hugh McGrory discussing data science, VR, and more below:

    To learn more about NYFA’s VR programs, visit the virtual reality program page.

     

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  • New York Film Academy Narrative Theory Students Explore IMAX VR Centre

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    The Narrative Theory Course is a part of the New York Film Academy’s Game Design curriculum. The class focuses on storytelling methods in gaming. Virtual Reality (VR) provides an entirely new way of looking at how to tell stories. Without the control limits of a two-dimensional screen the ability to direct a player’s eye-line is no longer an option. A whole new set of rules has to be developed. This new frontier of technology brought NYFA students to the IMAX VR Centre in Hollywood, CA.

    For many students, this was their first experience with VR. “I had a really great time at the VR Center,” said student Kamen Marinov. “The moment I put those Oculus ‘goggles’ on my head I felt this strange feeling — that I was inside someone else. It was like I was seeing through another person’s eyes. It felt odd at first, but when I got used to the visuals and the game mechanics I had an amazing experience.”

    Students were able to experience a ton of games that are new to the market. The new “Justice League” game based on the Warner Brother’s film allows players to drive the Batmobile or take out Steppenwolf’s lackeys with Cyborg’s arm cannon. This is just one of the many games currently on display. Set up in an arcade style, students can could jump into several cinematic worlds including “John Wick,” “The Mummy,” “Deadwood,” and the Star Trek and Star Wars franchises.

    Some students choose to play two first-person shooters “Raw Data” and “John Wick.” Jeffery Lay found the experience both taxing and informative: “In ‘John Wick,’ I was hiding behind a bar, watching my six, as enemies come from everywhere. A big vase covering an area of my view-making forced me to me lean around it, or jump to shoot over it, even though in reality, nothing is there.” 

    “VR had a lot more movement than I expected,” said Lay. “I probably changed between standing and crouching about 50 to 100 times in a row.” 

    Nathan Hales wasn’t just having fun. He learned a lot. “The level of immersion offered by virtual reality is really something that one cannot explain but must be experienced,” said Hales. “I felt like I was living within these virtual spaces. I was cutting down robots in ‘Raw Data,’ instead of the usual extra degree of separation offered from a traditional TV or computer monitor setup. Moving forward with the knowledge I gained from experiencing the capabilities and limitations of virtual reality, I can now envision games for the medium.”

    This is important because VR is a hot commodity in the entertainment industry. Since Nonny de la Pena’s VR project in immersive journalism entitled “Hunger in Los Angeles” premiered at Sundance 2012, there’s been a lot of buzz around the future of VR, yet there were many unanswered questions about the possibilities the new technology held at the time. Facebook set a new precedent when it acquired Oculus Rift in 2014. Since then, we’ve seen the development of both VR recording technologies and creative endeavors rapidly accelerate.

    Overall, the day was a rousing success. The New York Film Academy would like to thank IMAX VR for giving our students an opportunity to glimpse the future of gaming.

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  • NYFA Faculty and Students Screen Work at Jump Into VR Fest

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    For the first time in New York’s Lower East Side, the world has a chance to experience Jump Into VR Fest, a premier film festival striving to bring cutting edge VR/VX (virtal reality/extended reality) developments to light through showcases, performances, parties, workshops, product launches, demos, and panels — and the New York Film Academy is proud to congratulate two alumni and one faculty member who will be showcasing their work amongst the thought leaders and industry changes who are shaking the world through VR.

    NYFA 8-Week Narrative VR Workshop alumni Na “Melody” Liu and Ana Paula Loureiro Kler will both screen films made as a part of their NYFA studies at the inaugural festival (“Praying From Afar” and “The Drummer”), while NYFA VR instructor Martina Casas will also present an original film (“Hope after Devastation”).

    We had a chance to connect with NYFA alumna Ana as she prepares to screen “The Drummer.” Read on to hear her thoughts on the exponential speed of technology, what surprised her most at NYFA, and why she’s excited about Jump Into VR Fest.

    NYFA: First, can you tell us a little bit about your background and what brought you to NYFA? What drew you to VR?

    AS: I am a 36 year-old journalist, digital media content creator and now VR Filmmaker. In Brazil, where I was born, grew up and built my career, I have 12 years of background in television. In the last five years I’ve been creating website and social media content to the largest mass media group of Latin America (Globosat/Grupo Globo). I also had work experience as a reporter, producer, editor, director and screenwriter during the six years that I was an employee of the main public television in Brazil (TV Brasil). After I studied journalism, I attended a film school. After that I started to work in personal projects, such as a music video of the Brazilian singer Iara Renno (2014) and a short documentary about Burning Man (2011), both as a director.  As an editor, I worked in a short film named “Tradução” (2008).

    The exponential speed of technology has been transforming all the fields and leaving behind professionals who don’t update their careers. Journalism and cinema changed after the internet and keep changing once new technologies affect the communication between people. Since I became a journalist and filmmaker I’ve been learning how to use different tools to do my work. That’s why I decided to attend the VR program at NYFA. Now, I am totally focusing on 360/VR.

    NYFA: Can you share any detail on how your film “The Drummer,” which is screening at Jump Into VR Fest, was made as a part of your NYFA studies?

    AS: The film which was selected for the Fest was a class exercise. They asked us to go to Union Square and find a story to shoot in 360. I was the director of my team. I had two colleagues in my group: Andrew O’Leary, doing the production sound, and Carolina Sang operating the camera.

    We saw this good drummer with disability and he said yes when I asked him if I could make an interview with him. (By the way, he said many students have done the same before but he never saw anything. I think I should email him!)

    Basically, “The Drummer” is a short documentary about this street artist named Jesus. He talks about his life, why he is there, his thoughts, etc. He is always in Union Square. People pass by but have no idea about what he is going through. As a journalist and filmmaker, my goal was to go there, talk to him and transform all the information into entertainment, informing but also offering a nice way to hear from him.

    NYFA: What kind of equipment did you use?

    AS: The Samsung Gear 360, zoom recorder and ambisonic mic.

    NYFA: What surprised you the most about your narrative VR course at NYFA? Would you recommend it to others?

    AS: Definitely, the course was better than I expected! Surprised me how intense it was (many hours of class and projects). Also, the number of professionals from the market they brought to talk to us and how we had easy access to the equipment.

    The experience was really great. Location, teachers and coordinators were really nice. I wouldn’t imagine that in eight weeks I could learn and produce so many things.

    I was looking for something to change my life and my career. I think it was the perfect choice. I highly recommend.

    NYFA: Can you tell us about your experience with Jump Into VR Fest experience so far?

    AS: I am really excited about the Festival! It is a great opportunity to have a VR film that I directed and edited showcase here in New York.

    Besides “The Drummer” I made two more films. “Undone.” my final project, is more hybrid. It is an adaptation of an art performance about Muslim women. The VR experience is to be surrounded by six muslim women and hear their stories. I believe in the power of virtual reality, known as the empathy machine, to change people’s minds.

    My third VR film I made for an exhibition in a Art Gallery in Lower East Side. The idea was to give to people the experience to see the creative process of an artist: you see the painting in the gallery, you take the VR headset and when you put it on you are in his studio in upstate New York in the middle of the woods, hearing and seeing a stream, and you see the artist painting and talking about his work. The opening was great. People loved it.  

    “The Drummer” was also selected to be showcased at FoST Festival along with Ana’s final NYFA project, “Undone.” The New York Film Academy would like to thank Ana for taking the time to share about her experience with Jump Into VR Fest with the NYFA community.

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  • Virtual Reality School Highlights at New York Film Academy

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    Last month the inaugural 8-Week Virtual Reality students showcased their final projects in conclusion with their graduation. Students and faculty were able to experience student work through interactive stories and games, which captured everything from Central Park to a virtual beer pong game.
    vr students

    Carlos Cruz, who worked for more than fifteen years in video production in Brazil, came to NYFA to learn about the emerging VR technology. “It was a great opportunity to come to NYFA,” said Cruz. “To study here was like a dream.” Cruz’s project allowed us to explore a blossoming relationship which began as an accidental encounter in Grand Central Station.

    “I find VR absolutely captivating as a medium,” added Catherine Dionne Henry, a NYFA VR student who is a native New Yorker. “We are at the forefront of a technological transition and I feel that this is a very exciting medium to be in.”

    Henry’s final project “Welcome to Harlem USA!” captures the legacy and culture of Harlem, which she says is a neighborhood in a period of transition and change.

    The projects were all impressive, making the 8-Week program a huge success. The Academy looks forward to its next batch of VR pioneers and wishes the best of luck to its recent graduates.

    In VR Faculty news, NYFA VR instructor Caitlin Burns headed a panel discussion on Virtual Reality at the Las Vegas Convention Center on April 23. Burns and other panelists tackled questions as to whether the technologies will be around for the long run and explored how to use and take advantage of the growing technologies, uncover how the experiences will look down the road, and the potential revenue strategies.

    Currently serving as Vice Chair of the Producers’ Guild of America New Media Council, Burns has spent a decade working with narrative intellectual property franchises, independent artists, brands and philanthropic initiatives. Developing content strategies, overseeing multiplatform storyworlds and supervising localization campaigns spanning the globe, she understands what it takes to create a success story.

    Her past work includes: “Pirates of the Caribbean,” “Disney Fairies,” “Tron Legacy” and “Disney Descendants” for The Walt Disney Company, James Cameron’s “Avatar” for Fox, “Halo” for Microsoft, “The Happiness Factory” for The Coca-Cola Company, “Teenage Mutant Ninja Turtles” for Nickelodeon and “Transformers” for Hasbro.

    She has also worked with Sony, Showtime, Pepperidge Farm, Scholastic, Tribeca New Media Fund, FEMSA, Diageo, Wieden+Kennedy, Odd Division, Tool of North America, Hush, Campfire, Reebok, Stratasys and UNICEF. Her independent feature McCarren Park, a film distributed by geolocated mobile app, premiered at the Tribeca Film Institute’s Interactive Day and screened at New York Film Festival.

    Burns will soon be heading a panel discussion on VR in New Zealand as well as introducing the technology to a group of Maori children.
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    May 12, 2017 • Filmmaking, Game Design • Views: 3390

  • NYFA Game Design Mentor Meetup with Aaron Pulkka

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    This past week the New York Film Academy Game Department held a Game Mentor Meetup. The special event focused on the history and development of Virtual Reality. VR pioneer and NYFA Instructor Aaron Pulkka led the discussion.

    nyfa vr games

    Before the presentation, high school students hoping to attend NYFA, current NYFA students, and instructors from nearly every department gathered outside of the theater. Pizza, soda, and snacks were served. Through mouthfuls of hot cheese, participants buzzed over which VR headset was worth the price tag, which game best utilized its VR feature and whether the future of VR relied on lasers or motion capture and other topics.

    With full bellies and buzzing brains, the students filed into the Riverside theater. Pulkka spoke for over an hour giving first-hand knowledge of the rise of Virtual Reality. Pulkka worked on the “Aladdin’s Carpet Ride” at Walt Disney World in Florida, which first utilized VR in 1998, and many other groundbreaking projects.

    He also broke down the key factors of establishing a VR world. The gamer must move in the space, but space cannot come to the gamer or they will be too disoriented to keep playing. This is known as an explicit camera. Light and sound help establish where in space the gamer is supposed to be.

    pullka

    Pulkka then walked the students through the different kinds of headsets. The Play Station 4 has sold three times as many VR headsets as the next leading brands, but there’s an HDMI cable limiting the player’s movements. Google Cardboard costs anywhere from $2 to $30, but you have to have an expensive smartphone and the games are limited.

    A highlight of the night was Pulkka’s demonstration of the Microsoft Hololens augmented reality headset. He created a VR program in Unity and output it to the Hololens. He then walked around the room dropping giant 3D cubes on the audience.

    A great lesson was the difference between VR and 360-degree videos. Pulkka says, “If you can’t interact with the world it’s not VR. 360 videos, like the ones you see on YouTube or Facebook, are not considered VR.”

    After the presentation, the audience spilled into the lobby to converse about all they learned and enjoy cupcakes. A group of students was overheard excitedly chattering about their VR projects. Game students are free to explore VR in any of their Game Studio semester projects. And there is one VR class currently available documentary students with more planned in the future.

    The New York Film Academy would like to thank those who participated in this exciting conversation. You can join the conversation by watching the discussion here.

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    April 17, 2017 • Game Design • Views: 3899

  • International Documentary Association Virtual Reality Event at NYFA LA

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    This past week the New York Film Academy sponsored a special event for members of the International Documentary Association (IDA) at the NYFA’s Los Angeles Campus. Entitled, VR 101 for Documentary, the workshop was moderated by VR Director and Cinematographer Celine Tricart and featured speakers from ground-breaking VR production company The Emblematic Group, and a VR camera demo from AbelCine, a leading provider of equipment and services to the production, broadcast and new media industries.

    IDA Event

    Virtual Reality has been threatening to conquer the gaming world for decades but new cellphone technology used with inexpensive VR viewers like the Google Cardboard have allowed for first widespread distribution of Virtual Reality projects, particularly documentaries. Platforms like the New York Times, OpDocs, Jaunt VR and Frontline VR, are releasing new material often called “immersive journalism.” The goal of NYFA’s VR Workshop was to allow IDA documentarians to “look under the hood” of VR to begin to understand what it takes to direct, produce and edit in this new medium.

    In VR and all 360-degree formats virtually all the film grammar developed over one hundred years of “flatties” or 2-dimensional films do not apply. No cutting to a close-up or a wide shot, in fact not much cutting at all for fear of inducing motion sickness in the viewer. All the “tricks” filmmakers use to direct the attention of the viewer are not possible in a 360-degree universe where the viewer decides what to look at when, and to some extent for how long.

    ida nyfa la

    Using sound and light to direct the viewer’s attention, defining the difference between 360 video and VR, and creating a new cinematic language were key talking points for the speakers. Senior Producer of The Emblematic Group Cedric Gamelin and Marketing Manager Ivana Coleman expounded on the possibilities of storytelling in this new medium, showing the audience examples of the Emblematic Group’s work in both live action and animated VR documentary shorts. Nicholas Samero and Sean George of AbelCine demonstrated a number of different VR cameras, from the 2-camera Kodak 4K 360 to the 8 -camera Nokia Ozo, and the 24-camera Jaunt VR.

    The afternoon was spent in a NYFA edit room where Tricart took participants through the post –production workflow for VR that includes downloading the media from all of the cameras, stitching the images from the various cameras together, editing scenes together, and outputting the edited media. Then each participant was able to view the VR scenes they had cut together.

    nyfa ida vr

    Barbara Multer-Wellin, Chair of Documentary for the Los Angeles campus recommend checking out the Op-Docs Video Channel, Jaunt VR, and Frontline VR to begin exploring Virtual Reality Documentaries. Multer-Wellin has already begun to include elements of VR in her classes and hopes to expand the program soon.

    When asked what she learned from the presentation Multer-Wellin said, “We (filmmakers) are used to having a lot of control. In VR, you’re giving the audience the control with the ability to make cuts themselves with their eyes. This is exciting but it is also kind of scary.” Celine Tricart said she loves VR because. “It’s like the very beginning cinema. All the rules have been thrown out the window and we’re making it up as we go along.”

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    April 14, 2017 • Community Highlights, Documentary Filmmaking • Views: 3954