Alongside being a guest contributor to RTVR through his A Wider FOV article series; Kevin Williams is a well-known figure in the immersive entertainment community—steering his consultancy KWP, he also is the chairman of the Digital Out-of-Home Entertainment Network Association (DNA), and more recently he has been associated with the launch of the latest Head Mounted Display (HMD) to enter the VR fray—in this feature he explains the thinking behind this move and the implications for the VR community in-general with this latest development. Let me first dispel a number of misconceptions regarding the announcement of the ImmersiON-VRelia ‘PRO Blue Sky’ HMD. This is not a VR headset to compete with the proposed consumer gaming peripherals from GameFace, Sony, Google, Samsung or Oculus VR (to name a few)—it has not been developed to rival those offerings nor has it been created to be a stand-alone arcade machine. The PRO Blue Sky is simply a rugged product for the evolving world of the Commercial Entertainment (CE) industry. The Commercial Entertainment VR Opportunity The next question will obviously be, what really is the commercial entertainment sector? In what has been referred to as the ‘Fourth Phase’ of the drive towards mainstream virtual reality applications; the market has been divided into three core sectors. The first is the new and emerging market of the mobile phone or tablet utilization of VR—personified best by the launch of Google Cardboard—the ability to use the growing power of mobile tech to drive virtual visualization. The second sector is that of the console (Sony) and PC (Oculus VR) route to market. But there has always been the less publicized third sector of the commercial entertainment application of VR. [caption id="attachment_15445" align="alignright" width="325"] DisneyQuest's Ride the Comix – Dave Pape (CC BY 2.0)[/caption] Commercial entertainment application, comprises a number of disparate but similar deployments—ultimately this is the offering of VR in a public-space (defined by a growing industry as 'Out-of-Home Entertainment' (OOHE)). For VR, its roots are steeped in the Out-of-Home Entertainment sector. The first (phase three) application of VR there saw numerous developers creating arcade and attraction variants on early VR hardware—most notably development by the UK based Virtuality (1991-1995); the majority of early VR users experienced this cyber-environment on Virtuality platforms (be it the 1000CS, 1000SD, 2000CS or the 3000SU systems). Fundamentally, the application of VR in a commercial entertainment environment differs greatly from the development and deployment of VR for the consumer game peripheral market; and with the latest phase of VR many of the hardware developments are not account for the many issues and requirements that development for public-space utilization brings to the table. Let us address the miscomprehension regarding working towards commercial entertainment applications. All consumer electrical products come with a ‘Usage Warranty’ or ‘Usage Agreement’ (sometimes referred to as a ‘Product License’): this declaration defines to the owner of the system purchased the scope of 'usage' that they can and cannot employ their product for to avoid possible action for 'misuse' of a licensed and branded product. You have to remember that the manufacturer retains the right to remove the ability to use hardware if they deem the system is being abused, or if their brand is being misrepresented. As with consumer televisions, computers, game consoles, and a host of other electrical items, the employment of these products in a commercial (public-space) environment is categorically prohibited—mainly due to the rigors and issues of deploying in a market not envisaged/licensed for the system—but also partly due to the difficulties to police brand and representation in that sector. Along with hardware, published software content also prohibits its usage in public-space for a variety of reasons, but fundamentally due to the inability to control representation of their Intellectual Property (IP) in this sector. Industry observers claim they have seen many of the current HMD manufacturers present their wares in public-space; but it is important to understand that the majority of supported applications seen have been done with special ‘dispensation’ extended to use their hardware as a demonstration-only system (with many stipulations) with no commercial (pay-to-play) application. Well illustrated by the use of the Oculus Rift DK2 at the Legendary Pictures booth during Comic-Con 2014. The use of VR for promotional experiences is separate to those using HMD’s in pay-for amusement style concepts that have flirting with legal action; resulting in a flurry of legal ‘Cease & Desist’ letters from HMD manufacturers appearing in in-trays at certain companies. Though not really a 'grey-area, some companies have decided to ignore the ‘User Agreement’ stipulations and take the risk to deploy development kit HMD’s in the public-space. Along with running afoul of the consumer hardware manufacturer, there is also the issue of the unsuitability of the available hardware to fulfill the requirements of this market. Issues ranging from the reliable support for tens of users at a time, ruggedness for a commercial environment, and the little mentioned issue of hygiene, all surmounted by general reliability of operation. Using early development kits for general application in high-footfall environments can be a trying and unrewarding endeavor (for all concerned) before the possibility of any legal action. Many of you will be aware of the special feature I penned that discussed the many issues that need to be considered when demonstrating VR in public—the less durable the HMD the more susceptible to damage and offering a bad experience. The need to promote VR at public events is a center-plank in some head-mount manufacturers marketing strategy as they shy away from conventional advertising and look towards a hands-on approach to gain recognition. Those observing the sector have seen experiments into the commercial entertainment sector; not only from entertainment style operations but also high level marketing agencies and publicity companies eagerly riding the VR craze and creating compelling public-space demonstrations. But unlike independent demos these applications, in the majority, will never be seen applied on anything else other than for the demonstrations originally intended. Continue Reading on Page 2... [caption id="attachment_15448" align="alignright" width="325"] Sum of All Thrills virtual reality roller coaster at Disney World – Phelan Ebenhack[/caption] Most notably, and one of the first exhibit applications seen, was from Framestore – a company well known for the special effects creation for such motion film blockbusters as Gravity; Framestore is also known for their marketing and promotional work. The company developed for the travelling HBO exhibit, a celebration of the world of Game of Thrones, a compelling VR experience that saw guests don the Rift DK1 and traverse a recreation of the series' 700-foot-tall wall environment in an exhibit called Ascend the Wall. But before this exhibit approach gained public recognition, there had been another VR based immersive promotional exhibit that had gained much interest. Before the Oculus Rift Kickstarter, a UK based company, Inition, developed the Nissan JUKE Wingsuit Experience—working on the brief of 'Built to Thrill'—an extraordinary marketing experience was created where users used a unique personalized motion-base to steer themselves in a virtual world, linked to a promotional attraction based on the automotive company’s latest work. The unique element of this 2012 experience was that Inition actually hand-crafted their own HMD for the task, with a mixture of off the shelf tech, and 3D printed parts. An important aspect of the commercial entertainment scene is the use of out-of-home systems in marketing and promotional application. Exhibitions, conventions and special events see HMD’s offering the possibility of a new and interesting promotion platform. A number of the early Rift DK1s found themselves used in such promotions—an example again from Inition in support of London Fashion Week (LFW), with a major retail chain (Top Shop) hiring the company to create a unique experience that placed guests in the window of their flagship store, while viewing the latest fashions from the LFW catwalk, via their virtual reality experience. VR’s commercial entertainment capabilities are finding a willing audience, though hamstrung by a lack of suitable HMD hardware available. As stated previously; the movie production and marketing companies have latched onto the opportunities of VR as a veritable bandwagon to ride. Previously public entertainment marketing and promotional events such as E3 or Comic-Con would see new movie releases celebrated with elaborate and expensive physical themed exhibits; VR allows marketing and promotional companies to immerse users in CGI scenes from the property in question. Companies such as Legendary Pictures (Pacific Rim: Drift with the Rift), 20th Century Fox (X-Men and Sleepy Hollow VR experiences), and Warner Bros., (Into The Storm: 4D Experience), demonstrated at Comic-Con, and DreamWorks (How to Train Your Dragon 2: Dragon Flight 4D), demonstrated at Time Square; having negotiated unique agreements to be able to use the latest DK2 hardware (before the pubic units were shipped), to promote their respective properties with VR experiences. See Also: Warner Bros. Promotes ‘Into the Storm’ With Oculus Rift DK2 Mixed Reality Experience at Comic Con (video) Regarding the public-space entertainment sector—once personified by the arcade, and now dominated by the family entertainment center, entertainment restaurant and location-based entertainment venues—there has been a strong interest to re-invest in the original expectations of the early 2000's to apply VR in the amusement scene, now hoping to be able to achieve this with reliable and cost-effective VR amusement pieces that can be fielded to a brand new generation. Market leading venues Dave & Buster's and Chuck E. Cheese have both entered into "experiments” for the best approach in VR to suit their unique audiences. Dave & Buster's expanded into creating a 'Virtual Reality Lab' style evaluation environment; while Chuck E. Cheese created a full-blown VR redemption game system (Virtual Ticket Blaster, developed by ReelFX). The Chuck E. Cheese approach underlined the difficulties of VR in the commercial entertainment market, falling at the first hurdle, having to eventually abandon their plans—embroiled in confusion and contradiction, the company reportedly had to suspended their experiment of using the Rift DK1 development kit with their young audience. While undaunted, other video amusement manufacturers in America and Asia are looking once again at developing VR based amusement pieces—the hope that VR can re-ignite the arcade scene, a dream in many a players’ heart. Sources close to KWP have revealed that many more amusement and attraction developers have started extensive research into developing what could be called hybrid 4D theaters (physical effect ride film enclosures), using an HMD rather than projecting a 3D film onto a screen. Still in an early stage of development, at recent attraction industry trade events production prototypes using HMDs as a replacement to a projected screen have been presented. Though many fall foul of using consumer HMD systems as a proposed delivery platform, the future is expected to see an explosion of VR-D attractions (as the term for this sector has been coined). From VR-D platforms to VR Visitor Attractions, the need for a commercial entertainment HMD is growing, along with the need for the right unit for the right market. [caption id="attachment_15449" align="alignright" width="289"] Aladdin's Magic Carpet at DisneyQuest – Dave Pape (CC BY 2.0)[/caption] To be considered also is the full-blown theme park experience—beyond the immersive experience of an audience motion simulator attraction (personified by the likes of Walt Disney’s Star Tours 3D), there has been a drive towards using VR in interactive attractions. One of the longest running VR park attractions are the two experiences within Walt Disney’s DisneyQuest in Orlando, Florida; opened in 1997, the facility has continuously run their Aladdin Magic Carpet flying race and Ride the Comix sword-fighting VR experiences. Often overlooked by those new to the VR scene, these attractions use the specially developed Disney 'GatorVision’ HMDs. Having paved the way for the best approach for an immersive VR attraction experience, the units are worth much more consideration than they receive. Continue Reading on Page 3... The Commercial Entertainment VR Solution [caption id="attachment_15241" align="alignright" width="325"] ImmersiON-VRelia's PRO Blue Sky headset[/caption] The basic issues of using HMD’s in public-space have not changed since the late 90’s—and with a extensive experience in undertaking this, it was proposed that there was an urgent need for a rugged, reliable and advanced HMD that could be made available to those wanting to promote and present VR to the masses before any alternative could be offered from the consumer sector. With this the newly merged ImmersiON-VRelia operation and their high-spec HMD platform, approached the new start-up International Immersion Industries (of which I am the Chairman) who retained the services on their board of individuals that had extensive experience in immersive entertainment requirements in the public-space sector. In August 2014 the partnership was revealed with the subsequent announcement of the PRO Blue Sky HMD that would build on previous experience, and would finally offer a solution to those that have seen initial success with conceiving a public-space application for VR, but could not find a suitable delivery platform to offer their guests. Following this brief overview of the reasoning behind supporting the commercial entertainment sector, Road To VR was able to put a number of questions to me regarding the scope of this new enterprise: Road to VR: How are you involved with virtual reality in the commercial entertainment sector? Kevin Williams: As you know I have been linked to immersive entertainment in all its forms for the majority of my career (working in design, sales, development and management)—having worked most recently on consultancies and research projects on new concepts for the market, it became clear that this industry needed a simple VR solution. Rather than watching from the sidelines I felt I had to support a platform that could best deliver the needed commercial entertainment approach, or we would be in danger of reliving the 90’s and seeing a whole swathe of the mainstream disenfranchised, unable to get their chance to experience VR, with no access to a consumer option. Road to VR: How does the ImmersiON-VRelia partnership work? Williams: The partnership between ImmersiON-VRelia and International Immersion Industries, which I represent, draws on the extensive contacts and previous knowledge of the market that we have amassed. I will be working towards establishing contacts with the numerous developers and operators looking at a public-space application of VR, desperate for a solution that can simply fit their requirements and content. The CEO and Chairman (myself) of International Immersion Industries have been invited onto the advisory board of ImmersiON-VRelia, and we look forward to combining our experiences and work on the sales drive for this and future systems. Road to VR: What are the specifications of the proposed VR headset? Williams: The PRO Blue Sky will combine what we feel is a number of ground-breaking elements that will make it a true commercial platform for VR from the ground up (rather than a last minute rehash of a consumer unit). Leading the charge is the 120-degree field of view that will be the first of its kind deployed in this sector, along with dual full high-definition 1080x1920 displays. The system will also be the first HMD in the market that will have combined spatial audio, along with positional tracking, making the PRO Blue Sky a single immersive platform solution that can be combined with whatever the client hopes to deliver into the commercial sector. Road to VR: What's the timeline for release? We have hit the road running—after the announcement of the merger, we then worked with the team to establish the commercial entertainment division that saw the partnership with International Immersion Industries. We are now in the final stages of creating production prototypes that will be handed to a number of early adopters; once all the elements have been combined, we hope to see the first production HMD’s fielded in Q2, 2015. It is important to understand that the requirements of the commercial sector are far different to the restrictions of the consumer hardware development sector, and we have to restrict the initial supporters to minimum purchases to ensure a strong business footing. One aspect of the partnership has not received as much coverage as the announcement of the commercial entertainment HMD; that is the agreement for ImmersiON-VRelia’s The AlterSpace, a delivery platform for content to entertainment organizations on demand. This will offer operators of the system an ability to have access to a wide selection of game content from a central source on demand, and make the instructions of operation and keeping the unit and content updated much easier. This delivery platform will also be available to the VR community, offering a new platform for great content to thrive on, away from consumer (exclusive) restrictions. Finally, I know that in all things the error of the current HMD developers to not look towards Commercial Entertainment will eventually be recognized, and after a letting of blood, we in this new partnership will see the appearance of competition in the commercial entertainment sector. I am glad to anticipate any competition in this sector; all I ask is that the right product is used for the right job, because the more we see development kits and consumer units forced into service to undertake a job they are ill equipped to achieve, the more there is a danger that the audience will be given a poor experience that will sully their perception of what VR has to offer. The opportunities for virtual reality in commercial entertainment are bright, and for many of the early explorers of immersive entertainment their first experience will be out-of-their-home. What is needed now is the drive to establish this market with the right tools, and to support what will be a new era of entertainment application in an emerging market. More information on ImmersiON-VRelia and the PRO Blue Sky headset for the commercial entertainment sector can be found on the official website. About the Author – Kevin Williams has an extensive background in the development and sales of the latest amusement and attraction applications and technologies. The UK born specialist in the pay-to-play scene; is well-known through his consultancy KWP; and as a prolific writer and presenter (along with his own news service The Stinger Report), covering the emergence of the new entertainment market.Kevin has co-authored a book covering the sector called ‘The Out-of-Home Interactive Entertainment Frontier’ (published by Gower). And is the founding chairman of DNA Association, focuses on the digital Out-of Home interactive entertainment sector. Kevin can be reached at – kwp@thestingerreport.com – http://www.thestingerreport.com