ElseVR, a Mixed Reality channel, is a disruptive idea in narrative nonfiction and journalism.
It brings extraordinary and urgent stories to Virtual Reality (VR), granting the audience an entry “into” the story. By shattering the barrier between the viewer and the subject, VR has the power to elicit enquiry and empathy. Published online as a quarterly, each story facilitates collaborations between formidable filmmakers, writers and designers to amplify the power of narrative.
The magazine is the non-fiction VR platform from Memesys Culture Lab.
Memesys Culture Lab
Memesys Culture Lab is a cinema and new media studio at the intersection of science, philosophy and culture. We aim to interpret and demystify current breakthroughs in our understanding of the self and the universe, by actively participating in cinema, literature, pedagogy, technology, art, scientific and philosophical research, and actions of significant social impact.
Filmmaker. Philosopher. Innovator.
Anand is a filmmaker and media producer deeply interested in philosophy, evolutionary psychology, innovation, design and magic, and occasionally dabbles in all of these. His last film, Ship of Theseus premiered at the TIFF in 2012, and received wide international acclaim. In November 2015, Anand founded the Memesys Culture Lab.
Editor in Chief
Khushboo recently co-directed the documentary film An Insignificant Man, which premiered at the Toronto Film Festival 2016. She also co-wrote Ship of Theseus. Her first short film Continuum was shown at various international film festivals.
Writer. Journalist. Educationist. Daydreamer.
Shubhangi has worked in the field of journalism, education, Human Rights and curation in the past. She joined Memesys Culture Lab after completing her first work of fiction. She has won two national Laadli awards for gender sensitive writing in the past, and was awarded the Charles Pick Fellowship for creative writing, in the University of East Anglia.
Story-teller. Media-tech innovator. Futurist.
Co-founder of Memesys Culture Lab, Zain has dramatically influenced the Virtual Reality ecosystem coming from the Indian subcontinent, having designed state-of-the-art workflows and immersive grammatical tools for Mixed Reality. His expertise in storytelling, technology, narrative design, and ludology allow him to bridge the gap between technology and effective storytelling.
Head of Design
Visual artist. Innovator. Entrepreneur. Lover of the ocean.
Shirin is the Co-Founder of Clap Global and a Creative Director at Memesys Culture Lab.
Previously, she worked as an advertising creative innovating in brand building, graphic design, installations, typography and performances. Shirin believes that creative work should either solve a problem, enlighten, change social perceptions or simply entertain.
Along the way, she has won numerous national and international awards for her work, including the Cannes Design Gold.
Shone Satheesh combines his interest in the written word with the ever-evolving vocabulary of visual culture to push the boundaries of story-telling. He has worked in the media industry for close to a decade, at places like The Indian Express and Tehelka, among others.
Get in touch with us at email@example.com
Head Office : Mumbai, India
Memesys Culture Lab, 30, Aaram Nagar 2, Versova, Mumbai 61.
Virtual Reality Filmmaking
First there was radio, then there was film. We started with sound, then we had sight. The jump to film opened a whole new world of engaging the senses of a viewer. The arrival of VR is an equally big, if not bigger, shift in the viewer experience. Virtual reality filmmaking elevates the immersion by adding a powerful ingredient to sight and sound: presence.
Virtual reality filmmaking differs from conventional filmmaking not only in its material or viewing experience but also in the process of creation. The traditional rules and grammar of film don’t completely translate to VR. With viewers immersed in a 360° sphere at all times, the fundamentals of writing, shooting, cinematography, sound and edits have to be redefined.
Instead of passively watching a story, viewers take centre stage in a story as it unfolds around them. This is why the onus on the filmmaker isn’t just to craft scenes but to create and model explorable environments. The environments need to be dynamic and interaction-rich, giving the control to viewers to tailor their own experiences.
Writing a script then becomes a lot more like world building. In virtual reality filmmaking, crafting a world that connects throughout your narrative is more crucial than setting a series of events in time. To create content for VR and AR devices that is truly striking, we have to reconsider and adapt the nature of scripts and how they unfold stories. We have used the medium of virtual reality filmmaking to take viewers to the flood ravaged lands of ‘Submerged’ or watch scholarship-winning ballet dancers performing in ‘Yeh Ballet’ or traverse the vast Himalayan landscape with two school-girls in ‘Crossing the Sky’.