As details of its disruptive issues in production are further explained, through the film there are cuts to the original virtual reality imagines, following the main character through their adventures in virtual reality. And as the topic of its complexity is production design. So do the fragmented cut scenes reveal its hold on human complexity.

Academic source 1: To open insight on the effect virtual reality has on its patreon and the tools available to the storyteller, this source will uncover attributes the technology shares with textual reality. “Immersion, in VR, is a technologically induced experience, being surrounded by data. Whilst immersion in a book, by contrast, is purely mental phenomenon, the product act of imagination. Yet when VR theorists attempt to describe the phenomenon of immersion in a virtual world, the metaphor the imposes itself with the greatest insistence is the reading experience.” Why is this relation made, “As [users] enter the virtual world, their depth of engagement gradually meanders away from here until they cross the threshold of involvement” To harness users engrossment, is through creating a world real enough to suspend disbelief for a period of time. Narrative as Virtual Reality 2: Revisiting Immersion and Interactivity in literature and electronic media.

Academic source 2: When theorists can only describe such design fitting the likes of common textual reality, what sets virtual reality apart? Virtual reality is a first person, sensory rich, computer generated environment, which displays provides physical feedback. Ideally virtual reality has the possibility of altering the virtual body, and the virtual universe. Potentially impacting influence of human cognitions, interpersonal reactions, and behaviour. Although virtual environments are not real, they may have real effects, such as increasing heart rate and adrenaline levels. Virtual reality takes advantage of involuntary responses, people become engaged with activities (eg. concentrating, pursuing goals), and there may be real world incentives for good performance. This control raises cautions for potential issues positive or negative influences of structured environments design to influence individual psychology; relationships, independence, self-esteem, thought behavior (by placing one ‘in someone else’s shoes’). Power, Madness and Immortality: The future of Virtual Reality

Industry source 1: We thought “perhaps presence and narrative cancel each other out.” It made sense in a way: if you’re paying attention to the narrative in front of you, you’re far less inclined to be absorbed by your surroundings and allow yourself to be transported to somewhere else. Conversely, if you’re too swept up in the environment and the spectacle of virtual reality, you find yourself paying a lot less attention to the narrative action. Is it not possible to have both at the same time? How can one be present in a moment and also have a level of investment in the characters and the story? We considered how live theater addressed this. You’re present in a seat in the audience while real live actors perform roles in a story in front of you. Why is this any different? Do the rules of theater apply in VR cinema? Is the existence of a “fourth wall” a necessity in the scope of telling a story? If so, then why even do storytelling in VR? There is no fourth wall in VR. Burdette, Matt. 2015 “The Swayze Effect”

Industry source 2: Three-time Oscar-winner suggested the new format risked undermining directors’ control of their art. “I think we’re moving into a dangerous medium with virtual reality. The only reason I say it is dangerous is because it gives the viewer a lot of latitude not to take direction from the storytellers but make their own choices of where to look. I just hope it doesn’t forget the story when it starts enveloping us in a world that we can see all around us and make our own choices to look at.” Interesting perspective of a director, that the nature of virtual reality is a threat to his role. However this change further distinguishes the contrast virtual reality content will have in production to the disciplines of the film and television industry. Steven Spielberg 2016 Cannes

Annotations:

Kevin Spacey at the World Economic Forum is asked a question in regards to virtual reality potential. And as a result carves out an elegant response directly affiliated with storytellers. Virtual reality will be revolutionary in storytelling. this form of storytelling is humanizing, stepping into the shoes of characters, wandering around someone else's ideas, to think differently.. VR is going to be and extraordinary empathy machine. World Economic Forum 2016 Davos 2016 - An Insight, An Idea with Kevin Spacey

Chris milk, founder of LA-based VR production company VRSE.works discusses the phyical challenges shooting for virtual reality also present a set of previously unknown challenges: you can't have a traditional set when you can see in 360°. To have a dolly track underneath you in a VR shot, if the viewer looks down the immersion is lost. Simon Robinson chief Technology director are The Foundry confirms that not only capture and post-production difficult, delivery is also taxing as immense amounts of data is need to run. Wired 2016 oliver franklin-wallas

Story studio shared their process in the proto-visualization stage of their production. Describing the importance of detail, texture, story and depth in the content preserving the experience as seals to prevent the ‘leak’ of reality. Such detail included the viewers interpretation of their actions, especially in connection with the virtual space. In order to make meaningful narrative decisions, the viewer must be emotionally present. Protovis 2016, Pete Billington

A list of experimented results with virtual reality pertaining to storytelling. In this log post they cover major production setbacks and develop a new mindset for the production of immersive virtual reality content.. Exploring the techniques best suited for the vr user, and relinquishing the traditional approaches of cinema. Unseld, Saschka. 2015 “5 Lessons Learned While Making Lost”

Understanding that virtual reality, while it is a platform for storytelling, isn't repurposed for the film industry. As a multimodal experience, virtual reality will require design not limited to the standard film and television that viewers and producers are not accustomed to. as described by Ramiro Lopez Dau, the director of Henry, “What I’ve learned with ‘Henry’ is that it’s not really a movie anymore. It’s storytelling in a new medium, and we’re trying to figure out what to call it,” . Steven Zeitchik 2015 “with ‘honor’, a cinematic leap into the world of virtual reality.

Insight into Virtual reality position and disruption in the screen in the industry is measured by such quantitative data rounded by digi-capital. By 2020 VR’s addressable market is primarily core games and 3D films, plus niche enterprise users. VR could have tens of millions of users, with hardware price points similar to console. The CPU/GPU requirements for high-end VR come at a premium. There is less favor in mobile VR. Digi-Capital 2016 ‘Augmented/Virtual Reality revenue forecast revised to hit $120 billion by 2020’

The aim of this documentary is to highlight the eventual discourse of technology in the future of screen, and storytelling; virtual reality in particular. It will feature academic musings formed from the origins of virtual reality, while dissecting the observations of contemporary industry experts. Essentially exploring its future aptitude within frame of conventional means. Reflecting on its rebirth in contemporary society, sources will uncover ideas in regards to the inclination of digital disruption in the fields of screen production and potential effects to lifestyle.

The purpose of the study is to resonate with and inform film-makers and viewers alike of the predicted challenges due to the uncharted nature of its format. Storytelling on screen has expended in effect changing the experience the viewer preserves with its content in a profound mental manner. As a result the methods of storytelling are rewritten for memorable presence and interaction and beseeched to be mindful of the influence in human behaviour, attitude, and self. Whilst production requires innovative interest and process to retain a believability, valuing the execution of empathy through the use of virtual reality.

The approach to this documentary will reflect the case at hand; virtual reality. The structure will simulate a fractured assembly, experimenting with dissonance between factual contemporary discussions and conceptual renderings of the documentaries futurist narrative. Underlyingly this stylistic approach will express virtual realities predominant quality of experiencing the jarring switch from alternate realities. As a result information regarding both studies will be revealed in turns, switching and interchanging.

Overall the ‘Virtual Reality ; Beyond the looking glass. Contemporary storytelling in an age of digital disruption.’ will be executed in an expository tone. Featuring a narrator determining the topics direction and execution of factual discussions. However as the experimental narrative work reflects the prose of an observational documentary. As these inside snippets aim for immediacy, intimacy, and revelation of individual human character in ordinary life situations.

The central theme of this documentary is triumph over adversity. With a dystopian tone it will address confounding issues in the rebirth of Virtual Reality. Featuring the active engagement and requisition in a product with questionable faith shared from the public and professionals alike. Focusing on issues linked to the required technical achievements to be marked in the new chapter of screen's history. Detailing the range of production obstacles in the industry relying on the critical and lateral thought processes to surpass creative and technical challenges. limitations such as contemporary equipment, design, and storytelling. Factual and conceptual research will be explored parallel to a futuristic narrative entailing a nostalgic reverie inspired from early virtual reality visionaries. The documentary will present studios and arts from across the globe who have chosen Virtual Reality as their story telling device. With their own productions referencing insight on the evolution of storytelling using this new platform and medium.