Sentences with phrase «video viewers a feel»

Mixed Reality gives video viewers a feel of what Virtual Reality is all about and this Assetto Corsa race at old - school Monza is a great example of it.

Not exact matches

The more authentic and immersive the video, the more viewers get sucked in and feel as if they're experiencing the moment themselves.

The film includes video diaries of preteens and teens who are fighting obesity and, rather than being exploitative, their stories make the viewer feel on a visceral level just how intractable this problem is.

Previously researchers have studied brain activity in people watching a video designed to engender a feeling of joint attention in the viewer.

Viewers see and hear a mosaic of available video clips; choosing one makes it play out and lead to other choices, with the overall result feeling like an absorbing mini-profile of the Guntersville community.

One has the option of watching the film with subtitles that prompt the viewer when to throw the rice, etc.; another overlays an audio track of an actual theatre audience over the film's soundtrack to create a faux you - are - there feeling; and a third gives viewers the option to temporarily leave the film at certain junctures to watch video shot of an actual RHPS audience performing to the film.

Video can provide many «aha» moments if the viewers choose whether to participate and feel they are in a psychologically safe environment.

Watching cat videos boosts viewers» energy and positive emotions and decreases negative feelings, according to a study.

These earliest attempts at mixing real - life video footage with virtual reality are the best way to show people what it truly feels like to be inside of a virtual space so we're letting streamers and content creators easily share VR footage that's clear, understandable, and ready for mainstream viewers.

In this exclusive video, Laurie Anderson presents her prizewinning virtual reality work from 2017: «I wanted to see what it would be like to travel through stories, to make the viewer feel free,» the legendary multimedia artist says.

In Surplus of Light, Karen Spector situates the viewer in an endless video loop that taps into and oscillates from a national post-9 / 11 fear and insecurity, to a ridiculous feeling of lavishness, abundance, and wealth (found in the extravagant display of fireworks), to a looming uncertainty questioning and undermining American monumentalism and ballsy patriotism.

Also on show, at the San Ignacio Mission House, Mm Yu's In Transit (2015)-- a video showing still lifes of the belongings of Manila's homeless — succeedes in instilling viewers with a lingering feeling of unease at being voyeurs on a poverty tour of sorts.

Her videos especially, express this feeling of aesthetic and spatial displacement (and re-placement) most clearly in her use of 3D filming, where one moment the viewer is immersed in a street scene in New York, and out of nowhere in floats some form of digital detritus, a doughnut with sprinkles, for instance.

And unlike other video or gaming products in which advertising feels grafted on and exploitative, every HQ viewer starts out as an active player.

The video is not narrated, so it is an opportunity for the viewer to feel like they are sitting in on a complete play therapy session without interruption.

Using video footage of actual sessions spanning a seven month course of treatment, He introduces viewers to AEDP's moment - to - moment tracking of experience linked to the client's past, to meaningful relational contact with the therapist and to the felt sense of change itself.