Virtual Reality Meets Cinematography

This CODEX case-study documents the technical process in creating the nodal-VR project: ASHE ‘68 (2017). This VR film premiered at the US OPEN in the fall of 2018.

Eve M. Cohen thrives at the intersection of technology and creativity. As a cinematographer, she often works in the burgeoning field of virtual reality, where each project requires a unique approach. “VR has actually been around for a long time,” she says. “People have tried it a number of times in the past, but due to advancements in the technology, the growth has been exponential lately.”

When she speaks at workshops, Cohen imparts two points. “I look at VR as its own medium, but there are elements of traditional cinematography that are directly related to what we’re doing in VR,” she says. “ There are new ideas and new techniques, but we shouldn’t be afraid. I also try to push across the idea that most VR needs a cinematographer. There are a lot of VR projects where the producers don’t think they need a cinematographer on board – and to me, that is not a wise decision. People forget that if you hire someone to merely turn on the camera, you’re not necessarily making the best creative decisions, and you’re opening another box of problems. As a cinematographer, ideally I come onto the project early as a collaborator who is going to help creatively bring the vision to life, the same as in traditional filming.”

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