Ste Thompson is on a not-so-secret mission to scour the digital galaxy in an try to find new methods of telling tales by means of revolutionary and interactive consumer experiences.
As CEO and artistic director of Powster, a London-based movement graphics and UX production home recognized for creating net experiences for a few of the world’s largest film studios, Thompson’s objective is to deliver customers into the tales they’re already captivated with.
Take, for instance, the platform Powster created for Star Wars: Episode VII The Pressure Awakens‘ web site within the UK. The digital actuality element brings the viewers just a little nearer to that galaxy far, distant by inviting them into the motion by way of their cellular units (and Google Cardboard). Customers can navigate 3D photograph galleries and digital actuality movies from the film whereas feeling somewhat like a floating satellite tv for pc orbiting the long-lasting background of the opening crawl.
“Personally, I just want users to feel like it’s something new, interesting and really fun,” Thompson stated. “As a studio, we really want to be exploring new grounds and trying to push things as far as we can.”
These net experiences are in some ways an extension of a film director’s imaginative and prescient, which suggests Powster doesn’t all the time have the liberty to take dangers. As an alternative, Powster is taking what it’s discovered from creating experiences just like the Star Wars platform and making use of it to the rising world of interactive music movies.
The place Know-how Meets Storytelling
Powster’s first absolutely interactive music video was for the music “Carry Me” by Bombay Bicycle Membership. The video permits customers to work together with the band members by “moving them like stop motion puppets” in a approach that feels prefer it’s occurring stay, regardless that every thing is pre-recorded.
“What’s different with this is it’s all filmed with live action, that’s the real breakthrough with all this technology-wise,” Thompson stated. “This is where you’re interacting with filmed content. It’s like you’re reaching into a video and manipulating it, and that’s something that feels really unusual actually.”
When Horses Fly – Giving Customers the Reins
The idea for the “Carry Me” video was based mostly on the pioneering work of photographer Eadweard Muybridge, recognized for his explorations in capturing motion in horses. By combining animation, movement image design and cutting-edge video know-how, Powster hopes to additional this exploration by throwing customers within the proverbial horse driving ring and handing them the reins.
“It’s not a sit back experience, it’s lean forward,” Thompson stated. “You’re being told a story, but you’re being part of it in some way. We still want it to have a very strong, linear narrative that’s being told and you’ve got some control over that, some influence, but having key things about traditional storytelling and traditional filming techniques [is what makes it unique].”
Powster’s video for the track “Work It Out” by Netsky takes issues one step additional by empowering customers to regulate features of the video by connecting their pc with their cellular gadget by way of “telekinesis.” This provides customers, “the illusion of controlling objects inside the video. It’s like flipping the pages of a flipbook, but with videos instead of still images,” the artistic overview says.
Increasingly more artists have been introducing these interactive parts into their tasks. Powster just lately labored with Ed Sheeran to develop the interactive expertise “Journey to Wembley,” which tells the story of how Sheeran went from a busker to an internationally acknowledged performer. This expertise included synchronizing five totally different performances for a similar track recorded at numerous occasions over a lot of years right into a video that primarily permits customers to create their very own “time travel edits” of Sheeran’s journey.
Much of storytelling on this approach is in essence a manipulation of time and notion.
Interactive Storytelling: the Saga Continues
Powster’s model of interactive storytelling is slightly totally different from the interactive experiences you could have seen earlier than. Their aim is to embrace a extra conventional film making strategy to storytelling by taking over the position of a director fairly than permitting audiences to decide on their very own journey.
“You don’t choose your path watching a movie, you get told a story,” Thompson stated. “What we’re trying to do is still communicate that story, but let you be a part of it. The action that is unfolding is pre-determined. You’re being told this story, but you’re engaging with it in a way that is satisfying and helping further the point that is trying to be communicated.”
It’s one thing Thompson thinks is simply going to grow to be extra in style as extra artists and creatives want to place themselves on the cutting-edge of know-how—and as increasingly individuals need to be part of it.
“I think that you only have to look at what 360 video, VR and even what video content is doing, it is all making people do something in some way,” Thompson stated. “Everything started out really static with images, then it became video, and now you can move around video. Soon you’re going to be able to be in the video.”
The potential prospects of interactive video are nonetheless being explored and found, however like several Star Wars fan will inform you, there’s virtually all the time a Darkish Aspect. We’ll need to discover that in one other episode.
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