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The name is pronounced “weaver,” but it can also be thought of as a sentence, with “We” as the subject and “V. As anyone who has read a tech blog within the past five years, or a sci-fi novel within the past five decades, knows, “V. But then I talked to my husband, and he said, ‘How often do people just hand you money in this business? were ‘empathy’ and ‘immersion,’ and I wasn’t sure that being immersed in one of my dark comedies would be all that useful.”Instead, she wrote a naturalistic drama about a group of friends who encounter two police officers. “We start by identifying people with interesting minds, and then we wrap them in a creative bear hug,” Batt said. Bravo would use four wide-angle lenses, pointing in all directions from a single source, positioned so that the viewer felt like one of the friends.

R.” stands for virtual reality—a loosely defined phrase that is now being applied to several related forms of visual media. The producers at Wevr invited Bravo to write and direct a V. ’ So I changed my mind.” She thought about what kind of story might be told most effectively in the new medium. Bravo, who is black, tends to write roles for white actors, but for this project she assembled a mostly black cast. This can entail weeks of meetings, phone calls, and test shoots designed to help directors unlearn much of what they know about two-dimensional films—or “flatties,” as V. Then, in postproduction, Wevr would “stitch” the footage together to make a single spherical image.

—but, before you can be sure, Renee, who’s in the front seat, says, “No one ever gives any books,” and they let the matter drop. A teen-ager on the side of the road throws a football, and it arcs over the top of the car, above your head, and into a yard across the street. Tracking shots must be steady and slow, because too much camera movement can cause discomfort—viewers have reported headaches, vertigo, and nausea. With the current headsets, “virtual-reality sickness” can kick in after about twenty minutes.

Dell parks outside the bodega, where locals are gathered on the sidewalk. Dell gets out of the car to help an old lady cross the street. “After that, I just wanted to keep pushing,” he told me. It seems to affect old people more strongly than young people and women more strongly than men.

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In 1953, WCAU, a station in Philadelphia, launched “Action in the Afternoon,” a half-hour Western that aired live every weekday.

The mikes had to be hidden in the hitching posts along the street. directors are experimenting with what might be called a leap cut, in which the viewer is transported, sometimes with an audible Wevr’s offices in Venice occupy two former houses a ten-minute walk from each other.

You had to walk over to a hitching post to do a scene.”Movies also began as filmed theatre, but directors learned to use the camera to heighten emotions. directors use montages, dissolves, or split screens—though these are all technically feasible, they might seem abrupt or confusing to the audience, which is learning to watch V. while its makers are learning to make it.“There’s minimal editing, because we’re still figuring out how to do it,” James Kaelan, a director who has worked in both film and V. “Every transition is still ‘Fade to black,’ ‘Fade up from black,’ like a Jean Renoir film.” Kaelan is exaggerating—“Hard World” and other experiences have used jump cuts, some of which feel more jarring than others. Anthony Batt, the head of content, told me that he grew up nearby, in Pacific Palisades, “skateboarding and getting into fights.” He added, “Back then, you didn’t come down here unless you wanted to get your ass whupped.” Now Venice and its environs are nicknamed Silicon Beach.

If you’ve seen “Hard World” before, you will fix your eye on those cops and track them as they approach Dell’s car and start trouble. I eventually realized that I had been spending much of my evening leisure time with a magnified screen two inches from my face. Some interactions are simple, relying on nothing more than the orientation of the viewer’s head.

As the hostility intensifies, you might feel frustrated by your incorporeality—your inability to prevent the conflict from reaching its inevitable conclusion. So are the cops, and Sev, carrying a box of cereal, accidentally bumps into one of them. It means we start with no idea of how we’re gonna make a project work, and we make it work. storytelling,” to distinguish them from pieces made for more practical ends, such as architectural modelling or P. In an elegant game called Land’s End, you look around a serene, vividly colored landscape until you see a white orb floating at eye level.

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