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Immerse! New Narratives, new Technologies

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Hey thank landmark meaning and say yeah yeah I think for the
introduction and things for being here and for listening um I am I'm gonna
circles and I am a director and CG artists um and at the moment I'm studying animation and the effects that some Academy in uh this book so all I'm just going to give you a very short introduction to us owner uh the the young movie ideas among like you've pretty short so that we can and have more time for the for the panel discussion and uh Q 9 um so not is a 6 minutes and fully animated um be r short moving them it's science fiction and in was my 1st us step in so of a chirality sort of I'm my started doing it with some MichaelTrick of affiliate Marcin I have back in 2014 and we've become quite quite away essence and the the movie is um about sort of exploration and pretty dark exploration and there's an asteroid
approaching from the darkness of space and sending out some kind of a signal and a distress call actually and I'm throughout the more we we
follow a drone that picks up the signal and tries to locate the source of um and by doing that we dive into the very core of the asteroid and we'll explore on an ancient cases system and move towards pretty dark secret that's hidden there we think of you in a room
and few
and
this line is actually all data that is already on the
giving us or if you want to track to and when I started making the movie in 2014 I actually started with my at we actually started working on traditional movie for the tradition really because
that's what we did we both come from animation backgrounds and becomes an animated movies and and we actually started pre-production on the whole thing so the script was ready we we had all of all a story boards and the solid and going into the layout of all different shots and then and we came along decay 1 of the 1st developer kits from Oculus and we went shaped like a we have to do it and the are but
because the the sorry that we want to tell and the setting we we put the whole thing in and the themes and especially the emotions that we want to deliver with the movie I would just immensely be pushed by telling it and 360 degree and sold we basically give ourselves 1 week of very very basic research and this was in like March 2014 so there wasn't much and out there in terms of how do you make of your movies and all we knew was workflow from traditional and CG animated movie making so we tried to find a way to to art and we all the work for that we knew into a new workflow that would work for which a reality part we have basically as I said we couldn't resist we want to play from the very beginning in the movies with this contrast of being stuck in a very very limited space of the drawn itself um opposing like the vast expansion of space and you have these huge caverns that they're going to dive through
and that the physical aspect of our reality that and your mind and your body in a very strange way get disconnected from from 1 another while you're experiencing of us a reality um I was just irresistible fast the mind knows what is going on when you experience the chirality you you
know that you are watching something as created and only virtually exists um you hear all your friends he all the noises from around a few the chair that you're sitting on but still your body says I don't care
because I feel the room that I'm in and I feel the movement that is happening to my body and and this is like a very intriguing and our contrast in a very intriguing conflict actually for me as a storyteller to to explore and to put in the movies and I just it's is just the same with with that but very like a profound connection that you
have between the audience that you are and the content are always in the center of it everything is this this thing that you it's a very unique feature that Russia reality delivers which traditionally cannot ultimately always have the physical separation from you and
the and then the actual screen and if you do not have that and chirality so um what was important to us in making the movie was since we come from a making background we had a look around and we started with when we saw that the project and of what was out there at the moment and in 2014 and even on a broader scale and even today and most of the experiences that we found them while basically game demos um which focused much more on the technological aspects and then on the storytelling aspect and and the other experiences that were there were like simple the simple 360 degree video so basically putting up putting a camera at somewhere on a remote place um and then you will be there and you will experience it but that's the basic um and even today like the broader movement uh um of the whole the other thing goes toward some of that game character on that game aspect focusing on on interaction and
providing storytelling by giving you the opportunity to and interact with your environment and making that the center of the story telling soul and our approach was it's still take all that we knew about moviemaking take all the language that we have at our disposal and tried to recreate that for a reality and we really wanted to deliver this whole sensation that we have and that we all know when you're watching a movie which is profoundly or can be profoundly different from playing a game it's just mind set that is slightly different between these 2 is because it's something you you approach the game in a very different way than you approach a movie and we want to really implement um that movie watching sensation in the whole project and we had to learn a lot because directing um for the chirality so obviously is quite different from what it means to direct for traditionally as I said we had all that we knew all a moviemaking language we all these different aspects that we could create meaning with like um creating images that's the to the audience and that the audience can can read by stating in framing the same goes for editing um where it can create
movement then again meaning and is always this connection of what we can do with a moving but on the other hand what the audience can decipher since we and we know how long we works and movie tells a story since we grew up basically um so we have to rethink all these all these aspects starting with the with the very 1st question of who am I as audience and I'm always in the center of the story everything is directed towards me I can choose where to look so
what does that leave me with um am I an active part of that story a minor character by character that is relevant or am I not and and if I am a character in the sorry why don't I have interactivity because we decided so not goal in so we didn't work in engine the entire movies pre-rendered which means and apart from the ability to look around you and to decide where you wanna look you don't have actual interaction and so to maintain that movie aspect Saul um we had to clarify that from the from the very beginning in order to be able to you know move forward them with the story and and then the other thing is OK if you decide Europe pass you're not relevant for the story another character and your and and you don't have an activity it's good to know for me as a director but how do I transport that to the audience and in order to you know avoid that feeling of why am I not a character because I feel like a character just there think of and not planting that idea into the audiences have of actually or maybe I am a character and so there were different approaches we took and I think you probably don't dive
into that and later in the discussion and yeah I just wanted to give you this shot and all of you and to explain that the actual purpose of this amount was it to try to push that cinematic and language of movie making in the and try the experiment and not on the basis of interaction but actually giving the the audience that sensation of watching a story that has been for you and that has been chosen for you and which as a director gives me more opera side more more precise ability to um to deliver my messages so you um yeah I think that's it for the moment just to let you know what the project was
about so I think you can watch saunas somewhere here upstairs or downstairs and just go asking them young we see each other at the present at the end of and thank you very much so dominate um also the next hour TIS is present with an exhibition year a it's stock calls by um Michael boy and um your want cannot hope begins in this year from top making and goal directed to this inter active Graham at 60 degree last from tree arrest um so experience your on stage is 0 that's but it is lower loss from 3
areas current supposed to follow up on that the greatest directed that why did you like it or not so much longer on that you so much well hello everybody my name is your hand um and now it's about
him so um thank you for coming and guess it's too I did it's uh films deletion up here called the dark house and then explain a bit about its uh later OK so this is what of up there of the but further going and that to say quickly get you through what they call I became who I am today um because this is how I started um this is me uh and about this time I so my 1st movie and in and it was uh this
movie it's called the uh the cook the sees his wife and her lover and it's a very um it's a very dramatic movie and it was the 1st who knew that there actually made me cry a lot it's I don't know if you've seen it but there's a scene where the the the the the the sir feeding the clown bored with his own buttons that was the point where had to let go and see the sink and I cried for many hours of my mom had to sort of charisma the so uh that was the the greatest the 1st movie experience I had and that
sort of in a in a way just drove me to wards movies so I urge to start of film school and this was my 1st uh a movie at the film school my 1st year film it's called the standard in Danish which is uh Hamming Elijah meets later shaken gender on and then there's a lot of needs of course in that
movie this is constant beyond our model of the consumer but he's like the uh yeah search is of really good data sector of there's a lot of needs and I think in a way there's been a lot of food in all my movies in a way that uh um but there's always there's also been a lot of light uh human relations and a lot of lots and lot of how old things have really difficult to reach the each other so that the last movie I did that at film school was this and it's uh movie about at the famous things cortical Michael strong-willed diving was 27 and then the movie's called uh some of the world um and this is a still
from the movie so I think what why I'm saying this is just so that you know that I could come from a conventional film background I mean I mean I really like the black and white movies in old movies and in what Bergman and tacos here and you know just for way and callously Galison you know at every like movies but also like movies that are sort of it's yelling and and that's that's very physical I like movies that the physical and this is also still from the moving there and as you can see there's a lot of skin and a lot of a lot of body and a lot of uh physicality and when I've finished film school I was like here I wanted so I was getting kind of tired of people like coming out of the movie the movie theater and you know talking about the movie like it's not the acting was good or the editing was to or delete the camera work it was like I was the didn't really like I want people to come out of the movies and say wow I have the the the the right Justin Fielding motions I just so the experience for it was so tough being that died of like that
so uh we then we discovered the Oculus Rift the yard headsets and then we tried out and we were like wow this can maybe do something so we created the doghouse and this is the post after dark because this is the characters in the doghouse and as you can see I'm sort of returning to the whole dinner situation and the food thing I really like food and I really like food in films uh so the door cast is a story you could Goldstein stuff right up here it's a dinner party it's a family dinner and its experience through each of the characters perspective so when you take on the goggles you see the moving through the eyes of the character it's not animated of computer-generated view movies and it's a sorry Dominique um and then uh and it's it's also at installation this is uh from the premier of uh of the installation so you sit in the audience sit around the dinner table saying dinner table as in the movies and they are certainly there inside the movie looking out of the eyes and the thing about having the same table uh in real life as in the movie trade sort of um and naval caught between the fiction and reality which I really like uh and it's so they are somehow connected to fiction and the magic about the dog houses the people at is that when you put on the goggles and see this field it's cool but it's not magic when the metric is when you take off the cops and you and you look in the eyes of that force strange strange people sitting around this table but all of a sudden you know them somehow it's like you it's like who are have family bonds with you've you've had this been then you have this discussion with them and all of a sudden you just start to talk to each other you like what did you do when you went to the basement and all why did you say this to you why did you touch me there and stuff like that so people start to talk in in you and I instead of the characters and their and and that's really the best really special was especially so there is
yeah in so and I'm always I like food I like movies and I like cameras of the light chemist mn and we have to
build for this year we had to build their own camera and it looks like this so this is messed he's my producer and then we have made our company together coat Michael Paul and the this is the camera to camera so stereoscopic mounted on a bicycle helmets with the final microphones and the back which we call the monkey is where the data recorders siren where transmitters and stuff like that and you can see the Monotype creates like around image because it's very very why it's this 100 to 80 degrees so you can actually see in that image you can see his body and when we give people the Masked on the goggles people look around and they can look down and they can see the characters body as if it was the only then we did the house in the 2013 and from here to the January 2014 and it's so we we didn't really know what we were doing actually were pretty stupid about the whole thing so we just did what we wanted to do and we did know anything about the attributed but we were kind of lucky that people would not I mean there's a lot of I have to say this there's a lot of people getting really sick from doing the proper it's and it's because it you know jump into the body of another human being and it's very overwhelming and the movements of the camera and stuff so it's a it's a it's a very tough experience but there but some people they enjoy it actually and that's amazing so we we thought that we want to develop this technique and then uh we developed a new camera which look like this and also stereoscopic but with a big our field of view and we use this this for uh virtual reality lab that we did in collaboration with commitment docs where we invited 20 people from Scandinavia to common experiment with reality and and somatic which reality and see what they could do about it a and we even went
further and build this camera where we took some new call intend tiny and lenses that is like 250 degree field of view is it I mean it's very crazy to have a camera that can actually filled behind the camera yeah uh but the and then we had this very crazy microphone on top of which is a 32 uh what does that mean the time OK never mind
and so we I want the thing is I wanna I want continue doing this and I so I made a pilots for a feature-length experience they're called
Beaver and this is the worst Mulvihill against a pretty evil and this is the camera we developed for that's where we use the uh middle at test field cameras will light field camera whatever so this is how this this is
there she's eating it cake uh and then we
can be turned to food again OK and
this is the cost of so so just to round it up so this pilot is invited to attend its head and the world premiere can next week with so I'm very happy about it this is the feature-length experience that I wanna do with this and there another fun facts about me is that I am also a singer in a punk band and there so we have um we we made an album a couple of years ago and there and this is the
cover of the album where CO to select thank you so much thank you very much you on
sold we had no computer generated images life action movies and come now was some all back to the source but maybe back to the future this that I got that immersive comic and so the how many
of you will have noticed that the environment is
getting more and more polluted and the people becoming more and more sick the thank you raise your hand if you want to stop this from going
on thank you my name is the flotilla got some and on arts and thankful that I may talk you today within the next 10
minutes you will see how today you can make that up to this decisions for tomorrow how you can make the words a better place I'm writer and producer of the graphic novel called his the I have been trained as the media designer and I'm a business designer and serial entrepreneur at the moment I'm studying public relations although I teacher with think traveling through all
of Germany and showing young people how to do with things with that's 3rd technologies as the founder and CEO of a creative
agency coat color skin line I'm working with interdisciplinary teams for clients like that it's
as you can see we made some gun and science fiction stuff for them or followed
which about and we made the even management of you who from
or you a flame which is the canvas you can see we made for the sudden shift of certain and for example to
the other the that was an analysis of and production for local quality you know folks you can also visit planners years so I've already
collected 20 thousand euros and with the help of crowdfunding platforms and we have the chief 3 thousand 300 50 organic lights on all Facebook page organic means is like some of page which I'm very proud of so when I was 10 years old I never quite understood why so many people do so many the things to each other and to our environment it may be said and notes thinking about why we only fight the symptoms instead of going to the root of the problem early on I have asked myself what motivates people what makes them do the things they do you can see it what is going on in this world personally I have to the conclusion that I need to become creative so that I could be a source of inspiration for those around me for me the media great opportunity to tell a story that reach many people and makes them stop and think with any spheres I want to inspire a discussion about social and economic change the world together with you as a crowd I want to create a common vision of how to deal with the challenges of the 21st century and so as he is
truly most out it contains arts technology philosophy and science which you can separate so I would like to show you some of all things float right now and how many people of you read the description of the session OK
not many but I will tell you the story of comic the story is about they would you Karen a buddhist monk school goes
back down from the mountain into his home city to get some life-saving medicines for his friends down in the city you need the the Lorraine the Graphiti go wants to fight for healthier and fairer society both of them realized but the people in the city need to change their ways of living by changing their ways I was thinking you can see here on all along and used contains tool half of few so in means half of year and you can see you 1st
upwards of all audible and so the light parts stands for the you token counts so In a comic it's a monist and the dark side of this in the city and you still can't part of the story and to
show you what antifuse means on the right side of the year to pump and as the Buddhists um can the temple
so you can see here the
protons heading down to the mega city and so on follow the
Buddhist monks this coupon collector's view of with some of the universe on the left side you can see what
time clock soul is not work from
or connection we can see you the what I'm clock
which is disconnected from of soul it's levitating and use
quantum limitation for example soul
we don't take science % fiction because we think grounded in reality
is an important part to shoulder the future which could be but could knowledge that on some of the problems this could be done should social story as as the skits and be continue that all
same as of wars independent reasons for tactical force into better form the busses and
impedence using but he composed toward would you can
all do you fall on the this proposal could be put from things work cut that is
important in this simple marketable is the the 1 that was jointly organized in a tree can only
advise you never know when have the failure would invest personal
the momentous events from my
loss and 11 here you
which would you use the letter thank
you thank you and if there I was the ball will not the soul this was a clip of only the vision to life so documentary we made last year and there you will see in the production process of hemispheres which includes the scripts storyboards than the shooting of real person so if you want to take apart all become part of his views you can just ask and we make follows and you can become a real comic character if you want so we also like to heights messages all secrets and or comic their conceived of things of painting of emoticon that's called the idea of the that even page
already got makes a known version of that
and some we also like the painting sold is a little before we make ground ghrelin reality out we take in architecture form cutoff for the train station
of the 1 and then we created a lot on
version of on the of the so this called him and use this is called use of the money that's because the biggest of comic and even more
secrets in the bottom right you can see the skull inspired by what binds
example there you an anamorphic picture of a skull also is because and even
more architecture character designer cost you can cost all present
furthermore we made on helicopter but on the moon or a concept artist traded of 3 you most
that so long it becomes real and could be
printed so this is not the only
3 young we made yeah I mean we scanned the full and makes the candle made
of the weights the and even the
camera which is limited and extending all
universe the social stratum and I would
like to show you the short moving the of this was 1 of the 4 here on the line of if the point Q 1
4 and 5 in the mind of the rock
entitlements and and with function to their freedom cannot do or quickly and this 1 thing implicit social holding kind the following
content but this has been published a moment the all too much in the top of the the
input from the toward a different on all the whatever and in the fingers from the
and evolving from an excuse condition should wage plenty of will
probably change motional for
solution in all coming this is
a comic little design this and conflict will fly
to Seoul events exhibitions everything which extends all words this
like a comic cons and even bumbledom an
architect based in Berlin and visionary this taking part in all comic soul yes I would like to invite you the time has come to put all idea into action because audio is contagious making the rate has come to life and enabling insults quality of
life for future design and social
entrepreneurship division to be a moderator so the energy is to become a catalyst is it all home page and this is the about and become the change you want to see in the world envisioned of
future today thank you up
and
around at the end
of the thank you very much Chris
and DEM now we bring all 3 experts back on Staten 4 chairs and um we will
have a quick Q and a and dominate your 1 tests please join me on stage and thank you OK and you you you can think of questions you want to ask them in a just
throw out to what 3 that I have to ask them when when movies 1st came into contact with audience alike um this and story where and there's showing the arriving training gather all in a Parisian cafe that they haven't changed into a cinema and people actually fall this train might help them arriving at the station and they ran out of the cafe and actually about themselves so that's in a classic is example of a society being uh um not capable of coming to terms with the technology shift and you are working on a similar technology shift and and you have mentioned that but both of you mentioned the problem that the our signals was just the physical thing but also the and the problem of closeness and intimacy with the the story and what what works for you in that field so what is it what is a success and what is interesting In overwhelming the audience by massiveness um what works I think there is with the I we have let's say 2 levels of what works and what does
not work because um since you have that effect that people get like motion sigma quickly you have the layout of a let's say a technical specification that you have to meet in order to make it work them in order to not have latency when you look around and all that stuff and which has nothing to do with the actual story of the the the uh um yeah sorry that you're telling um and so that is the 1 aspect and the other aspect is story y is on um I think what we see a lot today
still is um content that is not why it's um that has that hasn't got the necessity for that media might say I think beyond has still to find its own stories in its own way of storytelling which make this is medium and all that that the technological aspects that brings with it and that sort of justify that yeah I mean it was the
success I mean the success telling a story that people really can relate
to in that you know that that it provides something with them that sort of just it just stays there in a way I a I a I have this this I have this credo to myself that I would like to make stories that have a beginning a middle but no but interest because I
wanted to just stay side audience for ever away uh um I think here I think this is and I think this was maybe you as you mentioned with them with a train coming in that's what we are creating user experiences it's not like there is that's just that's just something you can spend your time on it when you board it's I want I wanna make no experiences that you can remember that you want to talk to your friends about your family apart to to that somehow opens up your life I think that's the success for me you know and I think virtuality has the power to actually put people inside the
movie and to and to create a world that's reassembles a memory or to you or
maybe even a nightmare this is the same for you when you pick people and put them into a comic you direct In well from for me it's an adventure of we to rise of scripts and then we started and made some in the
1st and after that we ask friends and so on to become part of the story and after that I had the idea to ask of celebrities and people which have been positive impact on society like complements of which is an architect and visionary on is on projects rates of income which looks all of once
criminals so he tries to win change the world yeah just this is 1 thing that I like that what would you set them about our creating memories and that's what I find a very fascinating aspect because I've think to that and the r has the potential of actually creating memories to create
virtual memory is um I'd love to see them at some point in the future we maybe we'll be talking about uh what was your of what is your 1st measure of memory of it's just because that it is so subjective um the whole are telling the whole medium am other that I find them very fascinating also solves the steering had the the 1st virtual
memory that's obvious carried away I remember a robot and 1 more kind of technical question as and both of you all for me have the possibility all touching the audience physically or moving them physically and what the boy to Utah the moment with the little drop so we've got a big drop in the our and just a six-inch drop on the floor but did you calculated in your hat falling down to meters what kind of disease have you as professionals in physically manipulating or embedding the body the actual physical body of the audience like in Ready Player One with the full set we can walk and just have the physical it's equivalent am I always find it fascinating off actually how little
input you need of how how little actual physical input you need in order to make the audience believe what they're seeing is excellent is actually present in the physical world um for example you're um you're walking along some like a wall and there is little like this then stones until both of them and you have to walk over them and maybe just give the audience them like this initial trigger off of blocking their way when there's a stone with your foot you immediately see that the words the audience will actually start moving their feet leaving and there will be other obstacles in the real world so um that's all I'm interested in and not necessarily building up this whole 100 % everything is represented in the word in the physical world experience but tricking the audience in so making making them belief and making them 1 to believe that there is something that is actually not there I think that's some that's very again fascinating and I began a frightening thing yeah I mean idea I'm a bit more conservative for
the way I'm a bit of classical in that sense that I am not necessarily interested in that your audience should
move or you're be a part of that story you physically
um I see I still like you I still like you know watching a movie and I just being a witness to that movie in a way and just have a story told to you that's a really good story uh um but I for me I think about it a bit differently I want the the whole I wanted to be the other way around I want I want people to be able to choose step inside the story or a way to to to to take the story on themselves like close or whatever uh um not so they could move inside the story the talk talk talk talk only some for me I
would have seen like shows like is the the law in New York a light year is sequences of a involved but when you go into this big house and there's actors and there's and there's a big set aside and it's like you walk into the movies and you are inside the movie II I really like that and I I think that's my fantasy and reasons to make a movie that sort of works that way so you can actually walked into the movie and be inside the movie and you can leave the movie you when you want to leave the movie that was the movie to let's all not for questions from the audience all there are
many link this the I'm interested in the nomenclature of the whole thing because we talked about movies and games and experiences I think experiences is a very
long word so what what's what's the future what what are we gonna call these things expertise or something like that what you think the Christian um I don't know makes something that I find it funny I find the whole like the whole situation funny and the problem with what is the origin it is the difference
between the R in 360 Video and is a gain the just because of the headset it's also um yeah I think that's what like the whole process of the medium will will show all will bring em I mean that the beauty of his of it is that it is so open at the moment and we
don't have names and we don't have actual labels for a um and we don't have the shot we don't there's all these different answers that we've been talking about like full body emergence and there's a virtual movies and there is the odd games and I think that's system that's just a natural process of um let's see where the medium was headed and I think that all the layer small that stuff will fall into place eventually you're do you remember that the books I had them
when I was a child when you would go minutes to read a story then at the end the if you want
to fix and go to page this but that was I mean it's still a book he still lead us to even though that it was a different kind of was
very popular at that time so to me I was still call the film right here it's it's still a film because it's a visual storytelling it wouldn't video media uh I think he was still here graphic novel yeah it's probably so
comics and graphic moments of stimulus things that the state so you can call it a graphic novel at Concordia covered it doesn't matter it doesn't matter really what matters is what gives you and what do I get that yeah
what you it by
that I thank you for incitement Amazon the set us from taking like Lincoln known mentor will use experience and I
mean we're talking about immersiveness and we're talking about stories and on I mean it would be great to have a movie we never stepped out where you can of your in that will be as long as you want you can finish it whenever you want now there's the content like the ternative reality games that is picking up on this notion of an and I was curious to to know what your position on alternate reality gaming and on the other hand contact with
this so what's your perspective on this anyone on every single 1 of you the in I think it's I think it's really fascinating consists of 5 I've tried some similar things but I've never never tried to yield we have to go online and the stuff and then find that the 2 two-year-old read and and go around like that I haven't tried that i've tried st nowhere in the role playing games which is kind i the same in the street uh not really I know
it's different but it's kind of like you have to live in 2 some of you have to immerse yourself into the story where you have to accept the premise of this story uh um I mean I I a I think it's interesting but I don't think it's a and but I appreciate the people to it because it's it's great and the most of the outside things that I've tried so
far and most of the time focus very much on um as social aspects bringing people together in inner the like in the actual space that is being in the out augmented with other stuff and so I haven't I haven't tried anything really story-driven in a on them to me it's certainly interesting I think it provides another layer I think it could be actually a movie because you
take that Hall and this positive of this whole this disability thing um into the confirmation again like you have in the cinema you have your surroundings you have all the all the impact of the people eating popcorn xt and all that stuff and you do have a shared spaces that works um soul I think it can be interesting for of all 4 steps storytelling absolutely well on thank you as you are getting is quite expensive still and and if you look at them and to combating this also on the directional of walking in Canada and I think it's clear but it's quite an
extensive soul I could imagine that some sort of thing what's and that the revival something where you can join play and go home again all you during this so so my
name is jonathan and and the more we
make as well do so and the like the point that you pointed out at the very beginning about
audience that you were trying to give something to the audience and I think you also already proven that you of picking up the audience with you contain even go and I'm not because you didn't tell someone about this story of how much you are talking about social change I would like to know more about this later personally but lost I would like to direct this question to you um how do you how do you know who are how do you manage the process of reaching the audience did you think about who's my audience and did you direct the topics to them and if yes is there going to be a 2nd step um where you use versa right reality as a signature estimate I didn't get the
so it's a 2 part question this is the 1 thing is about the audience all I'm I'm
I'm dealing with your audience and the 2nd part is if the R is going to be my signature as a film maker cyclic OK great um I think it's a very tricky thing about the audience uh I know that I mean with the next to the project we doing even we we will have a serial release of uh like 10 episodes of the best childhood and in between those 2 episodes we will somehow tried to communicate with your audience and um and 1 of the ideas we came up with was to make a bridge it's ask anything with your audience talk to destiny a odicity will of course the
medium and my producer and we would talk about 2 could ask questions this in the end by a asking questions to destiny somehow affects the story uh you may be the
I think yeah but I think it's very tricky because when you start to when you start to think about making stories for there is an audience that you try to imagine then I think you're starting to make stories for the other than yourself and I I don't wanna make a story that I don't enjoy so I usually I say that I I don't really care about the audience because In the end it's me you need to be
uh spilled or try of the emotional the whatever whatever the story wants
type and or whatever and so I think it's a tricky question but I I I I realize that it is there that it is a possibility that probably you can get something out of it and to answer your 2nd question about signature uh no I I don't think the article to be my signature uh but this the next film on making is yard the next film after that is probably going to be something else and it might be
called anyway a different name and I'm sorry because I would really like to continue it but we are at the end of all time so I thank you very much Chris your 1 and Dominic um your once installation Dr experiences will be available out
there on the 2nd balcony dominates supreme at 60 degree some screened firms or not will be and screens downstairs in the odds
cinema and this is sold generous tool and donate uh signed are at present um for everybody interested in exchange for an address over there and damn if you'll have the same movie um if you also would like to continue this conversation you are all invited to come on the 5th and the 6th back here when the Republicans finish we've got lots of time and entries free and we will continue that discussion on several different levels and doc calls will also be visible up there Dominique will be available and continue exactly this topic and apart 2 and Chris is invited as well so yeah and they're available to be talked to thank you very much for your loss and thank you very much for all
volunteer and the translators Chuck approach had
Soundverarbeitung
Codec
Arithmetisches Mittel
Hypermedia
Kreisfläche
Gewicht <Mathematik>
Momentenproblem
Besprechung/Interview
Vorlesung/Konferenz
Quick-Sort
Computeranimation
Systemaufruf
Vorlesung/Konferenz
Speicherabzug
Physikalisches System
Quellcode
Raum-Zeit
Computeranimation
Besprechung/Interview
Virtuelle Realität
Skript <Programm>
Software Development Kit
Whiteboard
Gerade
Computeranimation
Minimalgrad
Menge
Mereologie
Wärmeausdehnung
Kontrast <Statistik>
Term
Raum-Zeit
Computeranimation
Trennungsaxiom
Einfach zusammenhängender Raum
Besprechung/Interview
Versionsverwaltung
Vorlesung/Konferenz
Inhalt <Mathematik>
Kontrast <Statistik>
Menge
Zentrische Streckung
Demo <Programm>
Formale Sprache
Implementierung
Videokonferenz
Arithmetisches Mittel
Metropolitan area network
Minimalgrad
RPC
Spieltheorie
Projektive Ebene
Programmierumgebung
Bildgebendes Verfahren
Einfach zusammenhängender Raum
Mereologie
Interaktives Fernsehen
Vorlesung/Konferenz
Ordnung <Mathematik>
Computeranimation
Einfügungsdämpfung
Momentenproblem
Formale Sprache
Interaktives Fernsehen
Systemaufruf
Kombinatorische Gruppentheorie
Netzwerktopologie
Minimalgrad
Basisvektor
Mixed Reality
Vorlesung/Konferenz
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Message-Passing
Bit
Verzeichnisdienst
Flächeninhalt
Besprechung/Interview
Demoszene <Programmierung>
Punkt
Besprechung/Interview
Gerichteter Graph
Quick-Sort
Computeranimation
Informationsmodellierung
Datenfeld
Rechter Winkel
Physikalismus
Güte der Anpassung
Relativitätstheorie
Vorlesung/Konferenz
Quick-Sort
Sichtbarkeitsverfahren
Metropolitan area network
Verzeichnisdienst
Sichtenkonzept
Datenfeld
Forcing
Linienelement
Perspektive
Rechter Winkel
Familie <Mathematik>
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Quick-Sort
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Kollaboration <Informatik>
Minimalgrad
Datenfeld
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Datenlogger
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Systemaufruf
Transmissionskoeffizient
Eigentliche Abbildung
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Schreib-Lese-Kopf
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Gruppenoperation
Besprechung/Interview
Vorlesung/Konferenz
Computer
Quellcode
Programmierumgebung
Bildgebendes Verfahren
Überlagerung <Mathematik>
Momentenproblem
Relativitätstheorie
Hypermedia
Besprechung/Interview
Vorlesung/Konferenz
Serielle Schnittstelle
Wort <Informatik>
Extrempunkt
Entscheidungstheorie
Stellenring
Biprodukt
Extrempunkt
Computeranimation
Metropolitan area network
Client
Datenmanagement
Kantenfärbung
Drei
Gerade
Verschiebungsoperator
Analysis
Gammafunktion
Facebook
Selbst organisierendes System
Wort <Informatik>
Mathematisierung
Quellcode
Extrempunkt
Systemplattform
Computeranimation
Homepage
W3C-Standard
Arithmetisches Mittel
Deskriptive Statistik
Kugel
Hypermedia
Wurzel <Mathematik>
Programmierumgebung
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Hilfesystem
Vorlesung/Konferenz
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Metropolitan area network
Diskrete-Elemente-Methode
Wort <Informatik>
Mereologie
Besprechung/Interview
Vorlesung/Konferenz
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Smiley
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Homepage
Netzwerktopologie
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Schießverfahren
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Forcing
Mereologie
Message-Passing
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Bildschirmmaske
Rechter Winkel
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Besprechung/Interview
Versionsverwaltung
Vorlesung/Konferenz
Computerarchitektur
Wort <Informatik>
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Computerarchitektur
Baum <Mathematik>
Punkt
Gewicht <Mathematik>
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Vorlesung/Konferenz
Grundraum
Lineares Funktional
Momentenproblem
Wort <Informatik>
Besprechung/Interview
Versionsverwaltung
Ein-Ausgabe
Data Envelopment Analysis
Ereignishorizont
Metropolitan area network
OISC
Diskrete-Elemente-Methode
Konditionszahl
Vorlesung/Konferenz
Wort <Informatik>
Gammafunktion
Videospiel
Wort <Informatik>
Gruppenoperation
Mathematisierung
Besprechung/Interview
Bitrate
Extrempunkt
Division
Computeranimation
Homepage
W3C-Standard
Energiedichte
Metropolitan area network
Webforum
Mereologie
Vorlesung/Konferenz
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Besprechung/Interview
Vorlesung/Konferenz
Diskrete-Elemente-Methode
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Wellenpaket
Besprechung/Interview
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Ruhmasse
Ähnlichkeitsgeometrie
Term
Sigma-Algebra
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Modallogik
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Hypermedia
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Videospiel
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Assembler
Virtualisierung
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Virtuelle Adresse
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Bit
Momentenproblem
Menge
Festspeicher
Besprechung/Interview
Meter
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Ein-Ausgabe
Ordnung <Mathematik>
Tropfen
Roboter
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Mereologie
Besprechung/Interview
Klassische Physik
Abgeschlossene Menge
Vorlesung/Konferenz
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Spieltheorie
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Vorlesung/Konferenz
Binder <Informatik>
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Gesetz <Physik>
Quick-Sort
Subtraktion
Prozess <Physik>
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Videokonferenz
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Natürliche Zahl
Besprechung/Interview
Vorlesung/Konferenz
Physikalisches System
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Homepage
Menge
Momentenproblem
Rechter Winkel
Hypermedia
Besprechung/Interview
Vorlesung/Konferenz
Reelle Zahl
Versionsverwaltung
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Ortsoperator
Perspektive
Spieltheorie
Besprechung/Interview
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Ähnlichkeitsgeometrie
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Besprechung/Interview
Fokalpunkt
Raum-Zeit
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Besprechung/Interview
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Schätzwert
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Prozess <Physik>
Punkt
Mathematisierung
Besprechung/Interview
Vorlesung/Konferenz
Elektronische Unterschrift
Verzeichnisdienst
Mereologie
Vorlesung/Konferenz
Projektive Ebene
Bridge <Kommunikationstechnik>
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Besprechung/Interview
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Umsetzung <Informatik>
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Freeware
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Ablöseblase
Systemaufruf
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Übergang
Touchscreen
Besprechung/Interview
Translation <Mathematik>
Vorlesung/Konferenz

Metadaten

Formale Metadaten

Titel Immerse! New Narratives, new Technologies
Serientitel re:publica 2016
Teil 104
Anzahl der Teile 188
Autor Stockhausen, Dominik
Garza, Christopher De La
Knattrup Jensen, Johan
Lizenz CC-Namensnennung - Weitergabe unter gleichen Bedingungen 3.0 Deutschland:
Sie dürfen das Werk bzw. den Inhalt zu jedem legalen Zweck nutzen, verändern und in unveränderter oder veränderter Form vervielfältigen, verbreiten und öffentlich zugänglich machen, sofern Sie den Namen des Autors/Rechteinhabers in der von ihm festgelegten Weise nennen und das Werk bzw. diesen Inhalt auch in veränderter Form nur unter den Bedingungen dieser Lizenz weitergeben.
DOI 10.5446/20633
Herausgeber re:publica
Erscheinungsjahr 2016
Sprache Englisch

Inhaltliche Metadaten

Fachgebiet Informatik

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