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Owen

ISOJ 2015

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VR Journalism
THE TOW CENTER,
FRONTLINE, and
SECRET LOCATION
a demo of live action documentary VR.
Framing
A need to align form with the capacity,
constraints and needs of journalism.
New Technical requirements
New Narrative form
New forms of Representation
Goals
Investigate what’s involved in making this
kind of journalism.
Better understand the non-fiction
storytelling potential of VR.
Produce a good work of journalism that
affords the audience with a new
understanding of elements of the story.
Critical reflection on potential
Owen
Owen
The Story
Where could VR add something
meaningful to the journalism?
The story we settled on was about the
spread of Ebola in West Africa
3 critical moments
The tree where Ebola likely jumped from
bats to humans.
The village where Ebola spread from
patient zero to the more.
A field hospital, where the slow
mobilization of resources was most
cruelly felt.
Owen
Owen
What we found
Creative and editorial.
A powerful effect of immersion.
Important to shoot specifically for VR.
The interstitial menu is a crucial framing
narrative device.
Added layer of interactivity is really
important.
What we found
Production.
The teams are huge, and the budgets are
huge.
The industry is still developing a
production language.
Post production, particularly interactivity,
is far too cumbersome.
The hardware is developing with
astonishing pace.
What’s next:
The release of the 2D and VR story.
The Tow Center report.
New Questions:
- Newsroom deployment.
- Automated post production & interactivity
- Experience testing.
- Representation, form, knowledge and emotion
Taylor Owen:
@taylor_owen, taylorowen.com
Fergus Pitt:
@fergle, fergle.com
Raney Aronson:
@raneyaronson, pbs.org/frontline
James Milward:
@secretlocation, thesecretlocation.com

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Owen

  • 1. VR Journalism THE TOW CENTER, FRONTLINE, and SECRET LOCATION a demo of live action documentary VR.
  • 2. Framing A need to align form with the capacity, constraints and needs of journalism. New Technical requirements New Narrative form New forms of Representation
  • 3. Goals Investigate what’s involved in making this kind of journalism. Better understand the non-fiction storytelling potential of VR. Produce a good work of journalism that affords the audience with a new understanding of elements of the story. Critical reflection on potential
  • 6. The Story Where could VR add something meaningful to the journalism? The story we settled on was about the spread of Ebola in West Africa
  • 7. 3 critical moments The tree where Ebola likely jumped from bats to humans. The village where Ebola spread from patient zero to the more. A field hospital, where the slow mobilization of resources was most cruelly felt.
  • 10. What we found Creative and editorial. A powerful effect of immersion. Important to shoot specifically for VR. The interstitial menu is a crucial framing narrative device. Added layer of interactivity is really important.
  • 11. What we found Production. The teams are huge, and the budgets are huge. The industry is still developing a production language. Post production, particularly interactivity, is far too cumbersome. The hardware is developing with astonishing pace.
  • 12. What’s next: The release of the 2D and VR story. The Tow Center report. New Questions: - Newsroom deployment. - Automated post production & interactivity - Experience testing. - Representation, form, knowledge and emotion
  • 13. Taylor Owen: @taylor_owen, taylorowen.com Fergus Pitt: @fergle, fergle.com Raney Aronson: @raneyaronson, pbs.org/frontline James Milward: @secretlocation, thesecretlocation.com