. The idea for “Myth” was sparked at last year’s Sundance, when Disney Animation chief creative officer Jennifer Lee, writer-director of the two “Frozen” films asked Gipson about exploring the world of “Frozen” for his next VR project. Previously,. “It was really our curiosity about what ‘Frozen’ would look like in VR.”The film plants the viewer in the center of a forest, a shadow-box-like set reminiscent of a pop-up book.
Crucially, the film uses visual elements to draw the viewer’s attention to the action. The four spirits are represented by four Stonehenge-like monoliths, each with a distinct icon. They each show themselves in turn, with scenes illuminating streaks of light where your eye is meant to be drawn: Gale, the wind spirit; fire salamander Bruni, the fire spirit; the Nokk, the water spirit that appears as a horse; and the massive Earth Giants, spirits of the Earth.
“Myth: A Frozen Tale” doesn’t use interactivity in the way some VR experiences do, in which the viewer selects where to take the story. “Making a choice takes you out of the film,” Gipson said. But it’s still interactive, he maintained, in the sense that the audience participates in a “gaze-based” manner.
A technical challenge for the “Myth” team was that, unlike with traditional animation, the scenes are rendered in real-time on a VR device, at 70 frames per second per eye. That meant the animation couldn’t be overly complex, said Jose Luis Gomez Diaz, who led technical aspects of the film in his role as VR technology supervisor.
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