Ideas Lab News

Separate Silences Installation is going to Cannes

By 25/04/2017 No Comments

25/4 2017

IdeasLab, Centre for Digital Experiences in Filmby Aarhus, MANND, cannes

Separate Silences Installation is going to Cannes

Maria Engermann and Signe Ungermand just graduated from VIA Multiplatform, Storytelling & Production with their final project Hver Sin Stilhed/Seperate Silences, which you can see more about here.

We’re so incredible proud of two of our youngest, but most talented Labsters, who just got accepted to Cannes Film Festival 2017.

Maria and Signe just started their own business – MANND, with the intention of redefining what film can be in the future. Using 360 video and VR together with sensory inputs like smells, touch etc., they take digital experiences to the next level.

They’re experts in building installations which will leave you with a strong memory, you’ll want to share with others – something quite unique in today’s digital landscape, where we consume experiences multiple times a day.

We’ve asked Maria & Signe a few questions about their work:

Why did you pick a 360 VR experience as final project at MSP?

Picking a VR project as part of our bachelor project came as a very natural step in our continuation of exploring this medium. At that point, we had both been specializing ourselves in cinematic VR for a year and a half, having done our internship at a cinematic VR company in Copenhagen as well as explored countless festivals for new and innovative ways of using VR within storytelling. The combined inspirations developed our understanding of how to work (and how not to) with VR. We then wanted to put all this data and observations into use, creating a project that would act as a business card and research for our entry to the VR filmmakers world.

What are the strengths in this kind of experience?

The ultimative strength of Separate Silences is presence . By combining both the visuals as well as the physicals of a viewer, it creates a sense of embodiment. The result of this is that the audience connects with the story and their virtual character to a whole new extent. We discovered that an interactive environment, such as physical synchronized touching, can have a large impact on the audience, despite them missing their motoric sense. Hence, the viewer takes a responsibility towards the virtual body, as they are aware that whatever may happen to virtual body also happens to the corporeal body.

What’s the most difficult thing about developing for this “new” platform?

The mind (and imagination) is faster at developing than the technology. We have experienced countless times when we wished for more than was available on the market. However, we find it fascinating how fast-growing of an industry this has become over the course of the past years. What we longed for a couple of years ago is now on the shelfs, and chances are that in just a year or two, our (new) wishes for VR technology will be granted.

What kind of projects do you see yourself working on in the future?

We seek new and creative VR projects within the borders of art, commercial and learning aspects with focus on immersive storytelling and physical installations to contribute to further development of VR experiences. However, we aspire to contribute with a cinematic expression as much as possible due to our background.