Stone lions take hold of Chinese viewers

BAN JIN BA LIANG (《半斤八兩》), Magic Dumpling Entertainment’s animated Chinese stone lion buddy comedy and Disney’s first Chinese TV co-production, is now China Central Television’s #1 children’s program, topping the ratings on CCTV14. In reflecting upon the trials, tribulations and ultimate success of the show, I come back to three key factors: people, process and perseverance… (full article on AWN)

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Stone lions take hold of Chinese viewers

Jaunt China and Beijing Film Academy Partner on Cinematic VR Lab

BEIJING – Jaunt China, an industry leader in cinematic virtual reality, and the Beijing Film Academy, China’s first and foremost film school, jointly announced the formation of the Beijing Film Academy Digital Media School’s Jaunt China Cinematic VR Lab, the first VR lab and incubator of its kind in China. As part of the academic and industry partnership, Jaunt China will make available its award-winning Jaunt ONE cinematic virtual reality cameras and provide access to its suite of cloud-based workflow tools for VR production and playback. Beijing Film Academy Digital Media School faculty, students and visiting experts will partner with Jaunt China on future research, curriculum development, production projects and internships. (full article on AWN)

Jaunt China and Beijing Film Academy Partner on Cinematic VR Lab

Cooking up a Chinese VR short

360 view: http://vr8.tv/88/3F1840

Earlier this month, immersive content development took an experimental step forward with China’s first improvisational VR “table read” on the interactive cinematic VR short film, FOUR DISHES AND A SOUP. (full article on AWN)

360 view: http://vr8.tv/88/3F187D

Cooking up a Chinese VR short

Hallmarks of Future Sensory Entertainment

While preparing for a presentation at the Beijing Film Academy’s Advanced Innovation Center for Future Visual Entertainment, I considered what I would identify as the hallmarks of future visual entertainment (which could more appropriately be framed as “future sensory entertainment”). Being a fan of the Rule of Three, I settled on the following:

  • Immersive
  • Interactive
  • Intelligent

Of course, I couldn’t stop there (especially once I noticed the “I’s” had it), so I brainstormed “I” words and quickly accumulated these additional hallmarks of future sensory entertainment…(full post on AWN)

Hallmarks of Future Sensory Entertainment

The only VR metric that matters

Raise your hand if you have a family member who uses VR every day. (article on AWN)

The only VR metric that matters

The Apple of your eye

Daniel Eckler’s article, “The Future of Apple & AR,” reiterates that personal computing is on the verge of a paradigm shift toward augmented reality, and notes that Apple’s recent hires, acquisitions and patents point towards this AR future, as does the tech embedded in their current product line (particularly the much-maligned AirPods, which can be properly appreciated as voice-activated computers that nestle in your ears).
Regarding Apple’s prospective AR endeavors, Eckler observes, “If AR glasses are going to be a success, they’ll need to tether with a powerful computer (the iPhone), and they’ll need to do so seamlessly while introducing new ways to interface with computers (Airpods + Siri).”
Yes, AND…

While I share Eckler’s opinion of Apple’s intentions, I believe Apple’s odds of success are predicated as much on the practical as on the technical. In order to achieve mass market AR adoption, Apple must attractively address the following points: (full post on AWN)

The Apple of your eye

Co-pros are no-go

This week, instead of virtual reality, some cold hard reality: there’s no pot of gold waiting for you at the end of the Chinese co-production rainbow.

Zhang Yimou’s The Great Wall, starring Matt Damon and co-produced by Universal, Legendary, LeVision and China Film Group, succeeded in eliciting a universal “Meh” from audiences around the world, earning roughly $172 million USD in China (a figure which once would have been astonishing but now is unimpressive) and around $35 million USD in North America. With combined production and marketing expenses in the neighborhood of $250 million USD, and global revenues expected to peter out at $320 million USD (prior to exhibitors taking their share), it’s safe to say that investors in “the biggest-ever U.S.-China co-production” are less than thrilled.

On the bright side, we’ll hopefully be spared a glut of formulaic Great White Hope films set against the backdrop of other historical Middle Kingdom marvels, pimped by puffy Chinese real estate companies with their eager Hollywood studio mascots in tow. Folks actually have to think now, and that’s a good thing. So, let’s elevate that thinking with some straight talk.

First, the unfortunate fact is that…(full post on AWN)

Co-pros are no-go