Penrose Presents Newest VR Movie "Arden's Wake" in Tribeca

I dive deep into the underwater metropolis. According to the street sign of Yassite Square, it seems to be New York. I took a shotgun and sat in a squatter submarine. Jules Verne may have imagined this scenario. In the deep ocean where the sun can't reach, the only light can only come from the submarine's crumbling spotlight and the biological light of the nearby fish. Looking far, a creature between the seahorse and the crocodile is approaching. In the beginning, it was like a small point. But as it came closer, I discovered that the creature had a mammoth-like volume. Its razor-sharp teeth were so large that they had become a normal adult. I was shocked to open my mouth.

This is the scene in Arden's Wake, the latest animated virtual reality experience at Penrose Studios. "Arden's Wake" participated in this year's Tribeca Film Festival, and this work is very grand and very beautiful. It has the same kind of appeal as the "Flying House Tour". The storytelling based on VR is also full of subtle innovations that fully demonstrate the capabilities of this medium.

Unlike traditional films, the world created by VR allows the audience to explore freely, not only through a fixed viewpoint. In an experience such as Arden's Wake, you can go in and out of buildings and follow different characters at different points in time (similar to immersive plays such as "Sleep Night"). You can even ignore the progress of the story and enjoy the colorful and exotic world alone.

But in addition, VR makers still largely need to determine their own format and what is effective. Even if the audience is free to move in the space, the director still wants to guide their attention at specific locations. Can be light changes, can be through the role of the story and so on. The "Arden's Wake" directed by Eugene Chung injects life into the role and takes a lot of thought. Most viewers may notice the same character or scene at any particular moment. Even if it is not the center of experience, you will feel that this part of the character is so lifelike, as if there is a fascinating story behind it.

Arden's Wake is also ambitious in shaping VR into a play. Most of the experience takes place in houses that float in the sea. The audience can walk around and different perspectives can cause different emotional reactions. Observing a character through the window will make you feel like a spy. When you stand in the same position as them, you feel as though you are perceiving the world through their eyes and you will thus develop a sense of empathy.

Nowadays, VR users' sense of surrogacy and their ability to control their environment are largely limited to computer-generated experiences (animation). The use of real people's VR is still at the level of 360-degree video, although users can look around, but in fact can not control their environment or interact with them in a meaningful way. However, this is changing. Camera devices developed by companies such as Lytro can capture live-action footage and allow users to "walk" through room-scale VR.

This opens the door for immersive live reality VR. In the future we will be able to effectively deliver users to real-world scenarios and empower them to explore and interact with the environment. At the Tribeca Film Festival, the experience named Hallelujah (from the studio Within) shows this concept. In Leonard Cohen's MV, users can (very much) walk in real life footage. Although it is still at an exploratory stage, it is not difficult to imagine that this technology will subvert the VR and VR-based storytelling in the future.

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