,Contents
Acknowledgments
List of Abbreviations
Introduction and Definitions
Part I Theoretical and Technical Foundations
1 History of VR
with Eric Kurland
2 Live-Action VR Capture and Post-Production
3 Game Engines and Interactive VR
4 VR Headsets and Other Human-VR Interfaces
Part II Virtual Reality Storytelling
5 VR: A New Art?
6 VR as a Storytelling Tool
7 Make a Film in VR from Start to Finish
The Future of VR/Conclusion
,Part I
Theoretical and Technical Foundations
Chapter 1
History of VR
with ERIC KURLAND
Eric Kurland is an award-winning independent filmmaker, past president of the LA 3-D Club, Director of
the LA 3-D Movie Festival, and CEO of 3-D SPACE: The Center for Stereoscopic Photography, Art,
Cinema, and Education. He has worked as 3D director on several music videos for the band OK Go,
including the Grammy Award-nominated “All Is Not Lost.” He was the lead stereographer on the Academy
Award-nominated 20th Century Fox theatrical short “Maggie Simpson in ‘The Longest Daycare’,” and
served as the production lead on “The Simpsons VR” for Google Spotlight Stories. In 2014, he founded the
non-profit organization 3-D SPACE, which will operate a 3D museum and educational center in Los
Angeles.
, Figure 1.1 Hugo Gernsback
While virtual reality is a relatively new innovation, the state of the art is greatly informed by the
many forms of immersive media that have come before. For practically all of recorded history,
humans have been trying to visually represent the world as we experience it. Primitive cave
paintings, Egyptian hieroglyphs, and Renaissance frescos were early attempts to tell stories
through images, and while these would not be considered true representations of reality, they do
illustrate the historical desire to create visual and sensory experiences.
Acknowledgments
List of Abbreviations
Introduction and Definitions
Part I Theoretical and Technical Foundations
1 History of VR
with Eric Kurland
2 Live-Action VR Capture and Post-Production
3 Game Engines and Interactive VR
4 VR Headsets and Other Human-VR Interfaces
Part II Virtual Reality Storytelling
5 VR: A New Art?
6 VR as a Storytelling Tool
7 Make a Film in VR from Start to Finish
The Future of VR/Conclusion
,Part I
Theoretical and Technical Foundations
Chapter 1
History of VR
with ERIC KURLAND
Eric Kurland is an award-winning independent filmmaker, past president of the LA 3-D Club, Director of
the LA 3-D Movie Festival, and CEO of 3-D SPACE: The Center for Stereoscopic Photography, Art,
Cinema, and Education. He has worked as 3D director on several music videos for the band OK Go,
including the Grammy Award-nominated “All Is Not Lost.” He was the lead stereographer on the Academy
Award-nominated 20th Century Fox theatrical short “Maggie Simpson in ‘The Longest Daycare’,” and
served as the production lead on “The Simpsons VR” for Google Spotlight Stories. In 2014, he founded the
non-profit organization 3-D SPACE, which will operate a 3D museum and educational center in Los
Angeles.
, Figure 1.1 Hugo Gernsback
While virtual reality is a relatively new innovation, the state of the art is greatly informed by the
many forms of immersive media that have come before. For practically all of recorded history,
humans have been trying to visually represent the world as we experience it. Primitive cave
paintings, Egyptian hieroglyphs, and Renaissance frescos were early attempts to tell stories
through images, and while these would not be considered true representations of reality, they do
illustrate the historical desire to create visual and sensory experiences.
