VR drama visual effects experience needs to be improved, long-term promotion needs to control copyright

Different from live performances, the VR version of the drama breaks through the limitations of theater space. Carrying out the VR version of the drama near the performance site at the same time can not only increase the number of people watching the performance and drive the revenue of the drama performance, but also allow the audience to have different feelings about the same drama.

Original title: Can VR make the market hot?

The VR brand's "Second Scene" recently held a unique experience event. Audiences can watch the VR version of the drama "The Man with No Expression" through head-mounted devices. Different from live performances, the VR version of the drama breaks through the limitations of theater space. Carrying out the VR version of the drama near the performance site at the same time can not only increase the number of people watching the performance and drive the revenue of the drama performance, but also allow the audience to have different feelings about the same drama. However, the visual effects experience of the VR version of drama is still a pain point when promoting, and if you want to use VR to promote the drama performance market, copyright control is also a key link.

Breaking through the limitations of performance space and

combining traditional performance methods with new technologies is gradually changing the way audiences watch dramas. The VR brand "Second Live" has recently launched a VR version of the drama "The Man with No Expression". Consumers no longer need to be limited by the space and number of theaters where popular performances are located. They can watch the drama in the best position through head-mounted devices.

It is reported that the VR version of the drama uses VR technology to record the drama content first. After the drama is released, VR drama viewing tickets will be sold and targeted screenings will be implemented to make watching the drama performance as convenient as watching a movie. Through this screening method, it can not only increase the number of people watching the performance, make up for the shortcoming of live drama performances that are time-consuming and laborious and difficult to copy, drive the revenue of drama performances, and also allow the audience to have different visual effects of the same drama.

Wang Xuan, manager of the public relations department of Damai Brand, said that "Second Live" strives to better restore the concept of "live" through VR, but more resources need to be integrated in order to achieve the desired effect. At present, in addition to launching the VR version of the drama "The Man with No Expression","Second Live" and other VR versions of stage dramas such as "Rental House" and "Sunspots" have also won the recognition of many audiences. In addition to the "Second Scene", Happy Mahua and Storm Mirror have also reached a strategic cooperation. Storm Mirror provides VR technical support, Happy Mahua provides drama content, and classic clips of the three dramas "Charlotte Worry","Li Tea's Aunt", and "Men" Three "have also been launched on the Storm Mirror App.

Although VR technology has opened up new profit points and viewing channels for drama performances, in the view of Liu Fangqi, director of the stage plays of the "Tomb Robber Notes" series, live performances such as dramas are a process of continuous optimization, and the content presented in each performance is different. Unlike movies, live performances can give the audience more imagination space through "false definition", while movies make up for the audience's imagination through the presentation of a large amount of content. This is why live performances are more intense."As long as a movie is filmed, it can be shown repeatedly, but it is actually necessary for a drama to polish the work through a large number of repetitive performances."

Visual effects experience needs to be improved

. VR technology, which focuses on immersive experiences, can better render the atmosphere of the drama and bring the audience into the plot, especially suspense and thriller content, and dramas with confined space themes are very suitable for VR presentation. However, in actual experience, VR visual effects still have flaws.

Some experiencers told the Beijing Business Daily reporter that although the sound and appeal of the VR version of the drama are very strong, due to the many changes in the lighting at the drama performance, when the lighting for on-site recording in the theater is dim, the quality of the VR version of the drama will appear. deviation. In order to ensure the experience effect, VR dramas must adjust the lighting in advance when recording, and use technical methods such as filling light and segmented shooting to improve the visual effect. At present, the VR version of drama is more suitable for drama plays with few transitions and can be viewed in one go. When large-scale multi-line drama with too many transitions is viewed through VR, the pictures will appear stiff and messy.

"It is acceptable to watch the VR version of the drama, but the entire drama is watched using VR equipment, and I'm afraid that the head cannot be loaded for a long time." Ms. Lu, an experiencer of the VR version of the drama, said that the performance of a drama is at least an hour long, and it will inevitably be uncomfortable to wear VR equipment all the time. Moreover, the VR version of the drama usually shows a panoramic perspective, and it is sometimes difficult to accurately find the focus of the drama content. Point, at the same time, the problem of vertigo of VR equipment has not yet been solved. Watching the VR version of the drama for a long time may greatly reduce the experience effect.

Industry analysts pointed out that new technology has brought many unexpected changes to drama performances, especially VR technology, which gives audiences the possibility to enter specific scenes. Although these changes are not perfect, they have a positive impact on the performance market, because technology can drive changes in the way drama is disseminated and win more audiences for the drama market. Under this circumstance, if you want to improve the visual effects experience of the VR version of the drama, in addition to improving recording technology, live interaction must also be indispensable. For example, producers of VR drama content can add a 3D prop placement function to increase the interactive experience by allowing viewers to give away 3D virtual props while watching.

Long-term promotion requires copyright control.

"Drama itself is a performance form that focuses on stage art, so the mainstream communication channel is offline theater performances. However, after the integration of VR technology, the communication channels for drama performances have been further extended." Zhang Haijun, chairman of Beiyan Company, pointed out that very few dramas are recorded as videos and played, and even fewer are produced into VR versions. This is a new field and requires more exploration.

In the view of some drama enthusiasts, VR dramas still need to be played in designated locations and cannot be viewed freely anytime and anywhere. If the communication channels can be expanded to online, the drama performance market can be further boosted by paying for viewing. However, some drama directors told reporters that even VR drama content that requires connection to VR equipment is at risk of being pirated. When such content is promoted on apps or video websites, not only does it require the shooting format, but it also needs to reach an agreement with the performer, producer and broadcaster in terms of benefit distribution, copyright protection, etc. The process is cumbersome and difficult to achieve success. On the contrary, the current offline experience method is more conducive to long-term promotion. Control copyright to avoid piracy, and at the same time, you can also get feedback on problems with the playback content quickly so that you can correct errors and adjust them in a timely manner.

In addition, ticket prices for VR dramas may also become a pain point when promoting content. A survey by a reporter from Beijing Business Daily found that most of the current ticket prices for drama performances are concentrated at around 100 yuan, but the ticket prices for watching VR dramas may be much higher than the ticket prices for live performances. After all, whether it is recording equipment or viewing equipment, VR versions of dramas require a lot of upfront investment, but higher charging standards may isolate some consumers.

The combination of VR with performances such as dramas and concerts can always attract consumers 'attention, which proves that VR still has huge market potential to be tapped in the field of performances. But no matter which performance form is combined with VR, content quality is the key to being based on the market. On this basis, with VR as the center, planned development and promotion can be carried out from the perspectives of film, television, music and game development, peripheral products, books, etc. Only by promoting VR performance content can not only stay in visual experience, but more penetrate and affect consumers 'lives.

Editor: Nancy