In every step of our personal and professional lives, we share stories to communicate, to exchange information, or to swallow ourselves with tea-break smiles. Imagine trying to blend a story into a visual narrative format; Whether it’s influencing viewers with scripting, directing or animated transitions. Evolving from the traditional 2D format to virtual reality, entrepreneurs are advancing technologically and introducing new storytelling ways to further their business.
With a growing trend, storytelling is transforming itself with cutting-edge technology and innovative, creative solutions. Leading the way in Extended Reality (XR), AR / VR companies are launching a new course in narrative storytelling and VR advertising.
XR is a pioneer in the industry Vanishing Point Media (VPM), LLC. By established Annie Lukowski And BJ Schwartz Like this Co-founderThe company is leading XR with VR production services with expertise in multi-camera solutions, pre-visualization, stitching and composting.
With examples of technological leadership in the AR and VR spaces, Annie and BJ create promising, high-quality descriptive content for the community and inspire millions with their lectures at major industry events like VRLA, NAB in Las Vegas, Google Labs and Forbes. Magazine
We are at Insight success Vanishing Point interviewed Annie and BJ to learn more about the media success story.
Below are the highlights of the interview.
Please brief our listeners on Vanishing Point Media, its USP and how it currently ranks as the leading player in virtual reality space..
Founded in 2014, VPM has worked extensively in the augmented reality (VR / AR) space to create original descriptive content and VR ads. We’re proud to be working with incredible partners and amazing brands from ABC’s Jimmy Kimmel Live to Toyota to Banana Republic – who sought out VPM to create and oversee the company’s first journey in VR marketing. By collaborating with such wonderful partners, VPM has become adept at working with budget scaling on a variety of content.
Furthermore, our collaboration with brands located across the entertainment industry has allowed VPM to develop some core workflows that are now key components of VR production and post-production. VRLA, its founders are heard speaking at major industry events of the year, including NAB, Google Labs and Forbes Magazine in Las Vegas. We are fortunate to be able to raise the bar in this new and dynamic medium of entertainment.
Take a look at your offers and how it affects the industry and your customers?
Well, first and foremost, we are filmmakers and storytellers. Basically, Vanishing Point is a production company working in a new place. Technology is the medium, not the message, but there is no doubt that it is the focus of our mission.
We are proud that VPM has led the way in innovating new strategies in the XR space for storytelling, advertising and location-based installations. Whether we work with Toyota to help thrill its customers or help ACLU educate its citizens – we always aim to hit the sweet spot in innovation, storytelling and client service.
Annie and BJ, please tell us about yourself, your personal journey in the industry and how you both contributed to the company’s success.
Our partnership began when we jokingly founded the “Annie and BJ Mutual Admission Club” during the University of Southern California Film School. And it continues after graduation when BJ works at Lionsgate and travels with his short film “Wolves in the Woods” as I travel digitally with Funny Or Die and Jeep branded entertainment.
In 2014, VR’s new but electrifying medium entered the market; We both saw the potential and wanted to learn more. Of course, nothing in VR worked like advertising, especially in the early days, but these challenges only inspired us. In fact, it took us back to the days of our head film school, shooting on a shooting budget, and learning about new ways of telling a story that was not electrically inferior.
We were thrilled to have the latitude to explore a medium that was so untested There was no VR storytelling class – we were discovering the rules we made – so we would break down our cameras and learn to work. Will something work? Film it, throw a headset and watch. That’s what we had and we loved it.
Soon, we created our own vocabulary, which we could share with colleagues and discuss in panels and discussions that were bubbling around making VR movies. Being on the cutting edge is scary and very cool – but not necessarily by the way, you guessed it.
As an experienced leader in VR, share your thoughts on where your industry is going next.
Okay, this is a big, very volatile and big, open question in a developing industry. The first question we need to ask is what do you mean by “field”. Nowadays, people in our circles refer to the medium as “XR” (or “augmented reality”) because it embraces both VR (virtual reality) and AR (augmented reality).
We’ve mostly worked on VR – a method seen in Ready Player One, where users wear a headset and enter a whole new world. The “AR”, on the other hand, is like Marvel’s Tony Stark glasses – we already do graphics and data overlays around the world.
We agree that AR will be huge in the coming years, but until consumers get their hands on Stark’s glasses – we’ll wait and see about some aspects of storytelling in that format. It’s brand new, and the camera-capturing storytelling tools aren’t quite ready for primetime.
So, in terms of vanishing points – we think in the near future ABC, Pow Entertainment and Banana Republic could create much more “traditional” VR content with partners.
Given the current epidemic, what initial challenges did you face and at the same time ensure the safety of your employees as well as how you managed to keep your company afloat?
Like most film companies, we were on set when we thought there would be a “two week” call for closure. It was much longer than two weeks, and we had to pivot to develop and prepare the slate for other long-term projects.
In short – apart from an incredibly fun project with Jimmy Kimmel, Epidemic was downtime for us in VR production, and we used that time to focus on development and several technology projects, which are currently a bit secret.
What would be your advice for emerging entrepreneurs who are interested in becoming entrepreneurs in the VR space?
Do a lot of experiments. Before your first real project. Visual storytelling is a language, and we’ve been immersed in the 2-D language of film and television since day one. So, we already come to the part where we talk about the middle ground.
It is easy to accept this exposure and the things to think about are “intuitive” when they are informed by decades of engagement with a medium. Then you hit something like VR and you can learn the limits and possibilities of a new language for yourself because you are literally trying to create it.
It’s wild. Honestly, the only way to be good at it is to make something and then put on the headset and feel it yourself. And you have to do it over and over again until you find one that works to express emotion or draw attention to 360-degree space. It is a pleasurable and sometimes painful process. And you can’t shortcut it; Experience everything.
How do you envision scaling up your company’s activities and offers in 2022 and beyond?
With Apple’s highly anticipated leap and all of Facebook’s developments – the XR space is very busy (although for most people this task may be behind the scenes). The initial buzz back in 2014 (thankfully) has stopped, but now it means there is room for real applications.
Cameras, stitching (composting all lenses to create a One-360 image), and editing software have evolved rapidly. The main missing ingredient was delivery. The headsets were too heavy, too expensive and not user-friendly enough for wide application. But now, for the first time, this is not true. The headset market will flood, and people will be eager for content.
In the beginning, we were often asked what we thought the future of VR would be: would the FAD be shut down? We’ve always said we’re not worried about the future of VR; We’re worried the kids aren’t taking off their headsets.