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“Noto, il giorno della paura 1693”, the film in VR presented to the Giffoni Dream Team guys

Sebastiano Deva: “The cinema of the future is where the spectator is the protagonist of the film”.

 

A disaster film that uses virtual reality to recreate all the emotions of one of the most terrible earthquakes in history, that happened on 11 January 1693 and destroyed the ancient town of Noto on Mount Alverria. “Noto, il giorno della paura 1693” was presented at Giffoni Impact, where the guys from the Dream Team were present, with a director and innovator Sebastiano Deva, Noto tourism advisor Giusi Solerte and Paolo Patané, head of the cabinet, who also showed a medium-length preview trailer of the film that lasts just over 25 minutes, which is a lot for a product in VR.

The truth is,” says Sebastiano Deva, “that the cinema of the future will be one where the spectator is inside the film. A film that will no longer be two-dimensional, but where the audience will be the protagonists, able to change it by their own actions. A distant future? Less than we expect. And the numbers show it. Just think that over 35 million virtual reality visors have been sold in the last two years. In the previous two years, 2 million were sold”.

Il regista Sebastiano Deva

An evolution that fascinated young people from the Dream Team. After Giffoni Impact a director met these guys. ” And also because,” Deva explained, “it’s a great opportunity for both the labour market and the entertainment industry. A technological wave is coming, and ,of course, there will be a need for transversal creators who should learn how to write this new type of cinema. An art that has been most developed over the years. Thanks to this, One of the arts that has evolved the most over the years. Thanks to this, you can watch “Noto, il giorno della paura 1693” in VR using the Rai Cinema Channel app, where there will be other similar products, perhaps in your own living room”.  From the Lumière sheet to cinema and television and then to mobiles. And then dematerialisation towards virtual and immersive reality. Undoubtedly, we are facing a new paradigm in the creative industry. “This creative wave is coming, and together with technologies, the pressure on creative people will certainly increase, and they will have to learn to make films, to imagine them, but just as they were projected on a sheet. “This creative wave is coming, and together with technologies, the pressure on creative people will certainly increase, and they will have to learn how to create cinema, to present it, but in a way that projects it onto the sheet. It is a new phase for cinema, because it is dematerialising and becoming a purely immersive experience, both for the viewer and for those who create it.