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“Over time, that sort of thing becomes intuitive to an audience,” Shapira said.Television broadcasting began in the nineteen-twenties, but it took decades for TV to become a medium.Bravo tweaked her screenplay to remove minor cinematic vestiges—insert shots, subtle blocking details—that would be either irrelevant or impossible in V. And when I craned my actual neck downward I saw a sharp line where my virtual neck ended, leaving a black void where my head was supposed to be. The crew filmed for a day, spent three and a half weeks in postproduction, and then submitted the short to the Sundance Film Festival.R.“Then we had another big conversation,” Blackaller said. It was accepted by New Frontier, the festival’s showcase for new media.

You could look anywhere, but your eyes linger on his still body. thing, I felt ambivalent about it as a medium,” she said. I have some ideas about directional sound that I want to play around with.”Anthony Batt told me, “A lot of tech people are talking a big game about V. And then a few people, including us, are just diving in and fucking doing it.” Wevr has overseen more than twenty V. (High-powered computers, sold separately, are required for both.) Omer Shapira, an artist and a software engineer, told me, “The tech is advancing astoundingly quickly, but the storytellers are still catching up.

—but, before you can be sure, Renee, who’s in the front seat, says, “No one ever gives any books,” and they let the matter drop. A teen-ager on the side of the road throws a football, and it arcs over the top of the car, above your head, and into a yard across the street. Tracking shots must be steady and slow, because too much camera movement can cause discomfort—viewers have reported headaches, vertigo, and nausea. With the current headsets, “virtual-reality sickness” can kick in after about twenty minutes.