Buzz is heating up on Apple’s new mixed reality headset, with the company reportedly securing “Iron Man” director Jon Favreau to create content for the new platform that brings to life the dinosaurs from “Prehistoric Planet,” the Apple TV+ documentary on which he served as executive producer. The headset, anticipated for 2023 release, is expected to offer both virtual- and augmented-reality experiences, and will run realityOS, or rOS software. Details broke on the eve of Apple’s Worldwide Developers Conference, June 6-10, but has not been announced during WWDC. The device will position Apple to compete with Meta, Microsoft and soon Google in the AR/VR space. Continue reading Apple realityOS Headset Reportedly on Deck for 2023 Release

“The Mandalorian,” one of the original exclusive shows on Disney+, follows a mysterious bounty hunter who takes on secretive jobs after the fall of the Empire. Recent data reveals that the show was the third most “in demand” digital original show since its debut. Epic Games is listed in the show’s end credits because series creator Jon Favreau used it in his production process. Epic Games’ Unreal Engine is a popular platform for creating games, such as “Fortnite,” but it’s now being used in more Hollywood productions. Continue reading ‘The Mandalorian’ Uses Epic’s Unreal Engine for Production

The studios are getting serious about VR productions, infusing them with more talent, money and time, and focusing on higher production values, original stories and a bit of celebrity. At the Tribeca Film Festival, virtual reality productions from director Kathryn Bigelow, musicians John Legend and Pharrell Williams, and producer Megan Ellison among others will be showcased. IMAX is also investing in venues for experiencing VR, with a center opening in Los Angeles, and plans to open more in the U.S., U.K., and China. Continue reading Hollywood Creatives Starting to Explore New VR Experiences

The 45+ year-old IMAX is now setting its sights on virtual reality, with the company’s chief executive Richard Gelfond seeing VR as the future of movies. In fact, IMAX is hoping to lead the charge into this new medium for storytelling, investing $50 million into VR content. The plan is to finance more than 25 VR experiences in the next three years; the company is already in discussions with directors and studios. IMAX also inked a deal with Google to build a new and improved VR camera, which it plans to unveil in 2018. Continue reading IMAX Plans to Create Big Screen Immersive VR Experiences

In 2016 the definition of virtual reality became somewhat diluted as it entered mainstream culture. Everything from non-interactive 360 videos viewable on a tablet to free-roaming full-body head-mounted display experiences inside warehouse spaces was marketed as VR. We saw ‘magic window’ VR experiences, a push for consumer HMDs including Gear VR, Oculus Rift, HTC Vive and PlayStation VR, and the introduction of low-cost alternatives such as Google Cardboard. It should come as little surprise that more than 210 companies exhibiting at CES 2017 use the keywords AR and/or VR in their descriptions; 72 are clustered in the Gaming and VR Marketplace section in South Hall Lower Level between spaces 21760 and 26025. Continue reading Virtual Reality Will Be a Major Force at CES 2017 Next Month

Nokia and Disney announced a partnership whereby Disney filmmakers and marketing teams will use Nokia’s 360-degree OZO virtual reality cameras to create VR content across all the studio’s brands. The studio has already used the OZO for two promotional pieces for “The Jungle Book,” one of them a 360-degree roundtable interview with director Jon Favreau and the cast, the second a red carpet experience at the film’s Los Angeles premiere. Other Disney brands that could use the OZO are Marvel and Lucasfilm. Continue reading Disney to Produce More VR Content with Nokia OZO Camera

During a two-night event hosted by the Academy of Motion Picture Arts and Sciences, neuroscientists and cognitive psychologists met with filmmakers to discuss their impressions of viewer attention and perception. Scientists have studied the mental and physical responses of audiences through eye-tracking experiments and analysis, while filmmakers have relied more on intuition and experience. Both groups are interested in what maintains an individual’s attention during the movie-going experience. Continue reading Cognitive Scientists, Filmmakers Explore Cinematic Perception