Virtual reality cinema” is back in vogue! If some places were open since the opening of VR to the general public, most theatres disappeared before or during the confinements related to Covid – in favor of experiences to be lived at home. The result of an experiment supported by the European Union, Nu:Reality has been installed in 3 Dutch cinemas since the beginning of 2023, and has already attracted over 4,000 spectators.
Cover: Nu:Reality in Lux Njmegen (©Marcel Krijgsman)
- Nu:Reality is a VR program offered at several cinemas in the Netherlands since December 2022, in an attempt to bring back the concept of VR cinema.
- In the experimental phase, Nu:Reality (financed by a European program and national funds) is supported by a new Dutch distribution company, Cassette, and Diversion cinema in France.
- The distribution of virtual reality experiences has often come up against logistical or marketing problems (Mk2 VR…), while the search for effective solutions to reach the general public has not been the priority since the COVID crisis.
Re-imagining VR distribution on location
Babette Wijntjes – I originally came from film distribution in the Netherlands and the Benelux. I have always appreciated the quality of narratives approached in cinema, and I quickly became interested in new narratives in a more free context than traditional cinema. The Nu:Reality project is mainly based on my discussions with Camille Lopato from Diversion cinema. I wanted to find a way to reach a real audience.
B. W. – We did a few tests on project releases on a case-by-case basis (we previously worked together on an Ayahuasca – the Shamanic exhibition ), but COVID quickly put us on hold. But it gave us a chance to think about how best to come up with an effective device! Our first experiments concerning the distribution of VR experiences, especially to museums, showed its limits. Convincing venues one by one, overcoming fears about virtual reality, setting up presentation spaces… It’s too much effort and time for time-limited presentations. That’s why we are going towards already installed rooms, and the necessity of a network of venues to be built in the long term.
Camille Lopato – But you have to start somewhere. That’s what Nu:Reality is all about: demonstrating by example the effectiveness of VR distribution, starting at a very local level and with dedicated programming. For us, at Diversion cinema, this is particularly effective! The audience is real, the programming is worked by themes, on short formats… We will see if in the future we can offer more experiences, on longer durations. We have to adapt to our audiences first of all, to get them used to it.
B. W. – When I created my company, Cassette, 3 years ago, I had a hard time considering myself as a “distributor” in a market that was still emerging. There was no distribution place outside of festivals! It is perhaps my view coming from a traditional industry, very established around its cinema networks, that led me to this questioning. And it came very simply in my discussions with Camille: why not imagine the place of diffusion of VR experiences?
… In The Middle of a Global Pandemic
B. W. – We then wrote a document together to approach possible partners and funds – and in particular a call for projects from the European Union in 2020 to support cinemas during the health crisis “Cinemas as innovation hub”. Our goal was to propose a real VR program, in cinemas, in several countries. And it was quite ambitious at this scale!
C. L. – We did not win this call for projects, but this is what allowed us to delimit the project and our possibilities. At least we were able to conceptualise and define the budget, to open discussions with cinemas (in Italy, Lithuania, Estonia and the Netherlands). We had to better integrate their own programming, their demand, in this type of proposal. After this refusal of funding, we focused on 3 interested cinemas in the Netherlands: the LUX (Nijmegen), the LantarenVenster (Rotterdam) and the Schuur (Haarlem).
B. W. – The end of the confinement was not the easiest period for this type of project. For the world of culture in general, it was already necessary to save the existing! We had accumulated a lot of information, we took the time to work with it – especially on the lack of competition between feature films and VR content. We must not confuse the sessions we have imagined, which are added to the rest. The Nu:Reality sessions are centred around short experiences, dedicated programming. The first three places to welcome us have also understood the importance of renewing their audience, and in this sense to try to innovate.
B. W. – These three partner theatres are among the 5 largest in the country. We are very fortunate to have them deploy Nu:Reality is a test phase, after a successful funding via Europa Cinema (link) and Cultuur Loket Digital in the Netherlands in early 2022. Nu:Reality is now a pilot program, which still needs to find a real budget to fully launch. We are now in our second content program with partner theatres. It is obvious, and this is at the heart of our action plan, that a more global diffusion at the national level can allow for a better control of promotion costs, technical support, etc.
Nu:Reality “Journeys Beyond Belief” (December 2022 – March 2023)
Nu:Reality “Inner Journey” (March – June 2023)
C. L. – The goal is to meet the needs of the audience first and foremost – that’s why we don’t draw exclusively from the Diversion catalogue, but work according to the themes of each program.
B. W. – We hope to take the audience into new worlds. And with the idea that most of them discover VR immersion for the first time! This can be through real world views, or more fictional experiences. We try to select each work through an internal editorial committee, but also according to the feedback from each theatre.
Nu:Reality, a screening
C. L. – It must be recognized that attempts at “VR cinema” have already existed, but not with the same ambition – and without this partnership component with the venues. In addition, we operate inside the theatres, so that each session is integrated into the programming and ticket sales. This is extremely important, you can even book these sessions with an unlimited card! For the rest, these are 25-seat rooms, with 25 headsets. The session starts at the same time for everyone. We have a greeter in the room to make sure everything goes smoothly. The real innovation is the shared sound. We use the sound of the room to immerse the spectators, and leave them possibilities of exchanges.
C. L. – In addition, we have 2 outdoor stations that present interactive experiences Again, using the cinema’s booking system. They often occupy a central place in the theatres, it is a real element of promotion that is at stake. Economically, they are not the most profitable for us! But they appeal to the public, and it’s essential.
B. W. – We pay particular attention to the comfort of the audience. In our sessions, the seat does not rotate. But in the end, each spectator can live with it – it’s the collective experience that counts. We must consider the attraction of the public for the medium through relatively simple, but spectacular experiences: discovering Everest for example. And their feedback is excellent! All the screenings of the first weeks were 100% full, and we are approaching 4000 spectators over 3 months. The same goes for the cinema teams, who have taken up VR with a real desire!
C. L. – The enthusiasm of the public towards VR, we see it regularly through our activities at Diversion cinema. For Nu:Reality, in my opinion, the aim is to maintain this over time. That’s where marketing and communication are key. For the first time a national campaign is in place with national publicity, a budget for a social media campaign, national reviews, dedicated partners and access to promotion material. And having the venues, the staff, involved is also crucial. Their recommendation, their sharing. And having the venues, the staff, involved is also crucial. Their recommendation, their sharing.They are the ones who create the social link that is useful to attract spectators to our screenings.
B. W. – Each program lasts about 30 minutes, which seemed to us to be a good length for viewing VR. We can thus offer 1, 2 or 3 consecutive films in a single session (8 euros) – which can be inserted between two feature films.
Towards a second test programme (and a real Phase 2)
B. W. – We are currently starting our second programming in the 3 partner cinemas, and we are working on the launch of a second phase (from September 2023) which should integrate 5 new venues… or more! One of the key points is that each location trusts us regarding the programming. We hope to convince authors and producers to entrust us with their projects, because the XR industry also needs to develop enough suitable VR films and experiences!
C. L. – We want to create a virtuous circle, but also an economic one, in order to make a real return of revenue (licensing fee) to producers and creators. This is why the development of a real network makes sense for us. Today we already gathered 4000 spectators, for an occupancy rate of 80%, in 3 months.
B. W. – For the future, there is a real challenge of deployment – in particular for the training of teams in each location, or the pooling of certain technical or promotional ressources. We are going to analyse the first months to better understand what happened, to see how to stabilise the costs and to present a first assessment. Moreover, we intend to extend to libraries (especially in Belgium) and other cultural places.
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