FNE AV Innovation: How will Cinema Be Positioned In Our Inevitable Immersive Future?

FNE Innovation 2016-11-29
Peeter Nieler Peeter Nieler

About the Author: Peeter Nieler is a pioneer in Virtual Reality. He has been researching and developing for Virtual Reality (VR) for over four years and his company Criffin is an important player in the VR sector.. 

With a background in both film production and as a director, he shares with FNE his vision of the future of VR in the context of media consumption-not just what it means for watching films but also as it applies to surfing the web or visualising data.

The Future is Immersive

There's no doubt VR is here to stay and will become an important component of our everyday life. Of course the technology must shrink remarkably and become almost seamless and unnoticeable, but considering the speed with which technologies are advancing these days it's a matter of years, not decades.

But hardware is not the core focus of this article, it's content and how we experience it. A very important baseline (besides ergonomics and lower cost) will be the social aspects of VR.

Mark Zuckerberg demonstrated this year at Oculus Connect some important work on social VR and when we consider that our facial emotions and body language can be fully transferred to our avatar (that could look like us, as for example Wolfprint3D is aiming to do) in Virtual Reality, the true potential of VR is revealed. It will become an important tool not just for gaming but change almost everything we do: from business meetings to education, medicine and entertainment we'll find ourselves teleported into this new universe, using its digital canvas to exchange ideas and interact like never before.


Above recently launched Limelight VR trailer aiming to help people with public speaking anxiety. In the future the platform could be used for collaborative purposes (meetings, presentations, etc)

How Will Cinemas and Distribution Be Impacted?

It's already happening. According to the New York Times, cinema is under attack by streaming services, such as Netflix and the disruptive Screening Room. Now imagine that you could visit a virtual cinema with a friend from another continent having a fully social entertainment experience, and maybe even meet some new people along the way?

Traditional movie theatres will not disappear but just like with the rise of any new platform, VR will take an additional share from cinemas as in the future it will offer besides "big screen experience" many other features hard to compete with features such as the endless possibilities of digital reality and immersive social aspects to name a few.

So we're looking at a whole new "adapt to survive" playing field. IMAX has taken the lead by bringing VR to their movie theatres. I'm sure the next step will be bringing their theatres into VR.

"It is not the most intellectual of the species that survives; it is not the strongest that survives; but the species that survives is the one that is able to adapt to and to adjust best to the changing environment in which it finds itself" Charles Darwin (“Origin of Species”)

I hope some players in the European film industry, such as for example film distributors in Europe, can see in all this as a new opportunity to level the playing field to their advantage. But it's important to remember: investing into developing areas is all about timing.




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Sten-Kristian Saluveer was the organiser of the 2016 edition of the European Film Forum conference in partnership with the European Commission in Tallinn within the frames of the Black Nights Industry Days. The event focused on innovation, new technology and the digital single market initiative and other key topics for Europe’s audiovisual industries. Saluveer is an Estonian film and audiovisual media producer, festival manager & programmer, consultant, and film researcher focusing on East-Asian film industries, specifically Japan and South-Korea. He graduated from Concordia International University in Electronic Media and has followed up in Culture Management(Estonian Music Academy) and Japanese Studies (Department of Asian Studies, Tallinn University). Most recently he holds a Master’s Degree from University of Tokyo (Japan) with an awarded thesis on film industry development and international co-productions in Hong Kong, Japan,and South Korea.

PeeterNieler2Peeter Nieler is an innovator and former film and television producer, developing Virtual Reality technologies. He is a sought-after speaker and - as he calls himself - Venture Catalyst having started already two Virtual Reality companies. Criffin is focused on hardware design and Virtual Neuroscience Lab is researching VR scientifically.  His companies already have two technologies in portfolio and some in the pipeline, most important being omnidirectional treadmill for natural locomotion in Virtual Reality.

Jorik2Jorik Jakubisko is one of the leading European experts in transmedia problematics. He is co-owner of the Prague based Transmedialist which will publish the comic book Bouquet at November (CZ+SK). It is first pillar for transmedia project Czech Grimm.PhD He is student at FSV UK (Faculty of Social Sciences at Charles University - Institute of Communication Studies and Journalism) and he writting his doctorate dissertation on Transmedia in context of single European digital market . He also works as a creative partner in Jakubisko Film in Prague together with his mother and father Deana and Juraj Jakubisko.

 AgnesSalsonAgnes Salson graduated from the French cinema school La Fémis and Mikael Arnal, filmmaker, created the project "Tour d’Europe des cinémas", a journey across Europe visiting a hundred cinemas, seeking for innovative ideas and trends for independent cinema exhibition.


Adam Široký is a ventuz designer, data integrator, software developer, VJ XLAB. The Prague based XLAB specializes in 360 degrees video and VR.



Muriel Joly is in charge of business development for Under The Milky Way. She began her career at StudioCanal (Canal + Group) first in the Domestic Home entertainment department, as a product manager (2004-2006) and then as a marketing VP for international Home Entertainment (2006-2009). After 2 years (2010-2011) in consulting, where she became interested in issues of the Video on Demand emerging market, she became in charge of marketing development for Canalplay, the VOD brand of Canal + group.