In the final installment of The VR Download, our four-part follow-up series to the launch of our complete 360º/VR Support Solution, we take one last look at the current state of 360º/VR Video through the eyes of visionary and industry trailblazer, Jonathan Yaniv, Co-Owner of Whiteboard Pictures.

About Whiteboard Pictures

Whiteboard was formed in 2011 by producer Jonathan Yaniv and director Jacob Sillman, as a production company focused on digital content. The name Whiteboard Pictures was inspired by the notes and artwork that covered the wall-to-wall whiteboards of their first location. After several years of producing content for top brands, including LG electronics, Shutterstock, Taglit/Birthright, and many more, Jacob and Jonathan began working with other directors and expanding their range of production services.

Today, Whiteboard works with directors specializing in various styles and formats, including broadcast commercials, digital content, branded content, and social media. Whiteboard is a full-service production company covering a range of genres, working with a diverse team of directors and producers capable of managing the most challenging of projects.

Sole Contributor:
Jonathan Yaniv, Co-Owner & Head of Production

Simian: What are some of the recent changes in VR? Is gear like the Oculus Rift and HTC Vive having an impact on the demand for this type of content?

JY: The month before the Oculus Rift was released our inquiries for 360 videos skyrocketed. It was incredible how we had not received a single request for 360 video and then all of a sudden they began pouring in at once, more or less the week after Oculus announced its release date at SxS this year.

Simian: What your biggest VR production challenges? How is directing, shooting, lighting, etc. being affected?

JY: On a logistical level, there is no space to hide production elements such as stands, gear, the crew to stand-by, etc. Unless you’re planning on rotoscoping everything out, your DP is up for a very serious challenge in how to mask these elements on the set.

On a creative level, it is hard to direct the viewer’s attention to a focal point. Editing was invented to focus the audience’s attention with sequenced close ups and continuous actions. There are usually no cuts in 360 or VR and so to that end most 360 and VR films are single takes because editing just feels unnatural.

Simian: Have any hacks when it comes to directing, that you’d like to share?

JY: Yeah, we hire directors who exclusively work with 360 and VR. It’s entirely different from traditional filmmaking as I mentioned above in regards to constructing long takes and there is little overlap in storytelling techniques used in traditional cinema.

Simian: How are you framing shots? Is there a main focal point or is there action all around?

JY: There needs to be a focal point, however the jury is out on how to communicate that to your audience. If they feel like looking around there needs to be compelling visuals in every direction, which essentially competes with your effort to create a focal point. Focal points in film have traditionally drawn from the visual examples of classical paintings in composition or sequenced close-ups where your focal point is enlarged in the frame.

Sound design plays a major role in directing the viewer’s attention for VR and 360 as it is a lot easier to indicate to the viewer which direction they need to look through auditory cues rather than visual cues they may or may not see.

Simian: What about VR post-production challenges? Is editing, VFX, client review, etc. being affected?

JY: What you see is what you get. There is little to no traditional editing and once the project is stitched together, going back and making adjustments is relatively expensive so it is important that you get exactly what you want during production.

Simian: Seems like post production starts up front before shooting even begins. Do you agree?

JY: Absolutely. You walk onto a 360 or VR shoot with a comprehensive plan on how the images you capture will be stitched together in post in addition to all of the other effects you’re going to pile on. This is not much different from any post-heavy project, if you want them to turn out well.

Simian: How are budgets and deadlines affected vs. traditional video? Does a VR project take more or less time to complete?

JY: If you were to shoot the same exact project in 2D and 360 or VR, the latter would take much longer and would probably not retain its effect.

Simian: What does the future of VR look like? In the long run, do you think VR video will become a mass or niche market?

JY: I believe there will be a place for VR in the future, especially for gaming. When you are a player instead of a viewer then you are naturally motivated to turn towards focal points that align with goals that the game has established.

It’s also hard for me to imagine that passive viewing of content will benefit from VR when the trend right now is for simpler videos for smaller screens with stronger stories. The thought of a movie theater full of people wearing VR headsets sounds rather unappealing.

Simian: What does the future look like for software and technology for VR production? What would you like to see from vendors?

JY: Samsung has some great cameras that make 360 and VR production far more streamlined. The studio is very small. It has only two cameras and is designed to work with Samsung phones. Many platforms are now supporting 360 including Facebook and YouTube.

Thanks so much for your insights Jonathan Yaniv and Whiteboard Pictures and to all of our awesome contributors!

We hope you enjoyed The VR Download as we did putting it together for you.

For more tips, tricks and trends from inside the 360º/VR Video and the production industry at large, check out our other blog topics.

.…and as always, if you have a question or great feedback to share, let us know on Twitter or Facebook. We’d love to hear from you!