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Depending on where you’re looking, you might notice one of the women on the curb directing a side-eye glance at Renee, or you might miss it. You and Renee stay in the car, and Renee takes a phone call. While researching this piece, I sometimes had trouble sleeping, which is unusual for me.

You can turn your head slightly to listen to her, or you can turn farther to watch Dell and the old lady, or you can keep turning until you see two plainclothes cops lurking half a block away. I avoid looking at computers before bed, because they have been linked with disturbed sleep. experiences, you simply enjoy the ride; in “interactive” ones, the environment responds to your choices.

Bravo’s shorts employ the visual grammar of art-house cinema: over-the-shoulder shots representing a character’s point of view, handheld tracking shots depicting urgent movement, lingering closeups to heighten intimacy or unease, carefully composed establishing shots with an actor in the center of the frame. “I wanted to bring you inside the world that was left out of that paragraph.” She called her script “Hard World for Small Things,” after a line from the 1955 film “The Night of the Hunter.”Anthony Batt, one of Wevr’s three founders and its head of content, is a forty-eight-year-old with artfully tousled hair and a bushy, graying beard. “Hard World for Small Things” would be a live-action short, with two scenes filmed on location.

In March, 2015, Bravo went to Venice, on the western edge of Los Angeles, to meet with a production company called Wevr. “It sounded like a technical thing, and I’m not into technical. According to the police, he choked on a bag of drugs. Some of Wevr’s projects are computer-animated, some are live action, and some combine both elements. The first scene—five minutes of unhurried, semi-improvised dialogue—would place the viewer in a car as it wound through South Central L. The second, much shorter scene would take place inside the store.

“Watching it, you had to turn around the whole time to make sure you weren’t missing anything in the back of the car, which felt annoying,” Blackaller said. segment produced by another company, I experienced a nightmarish version of the latter: I flew through the air, my legs dangling below me, scrawny and immovable.

So they decided to film from the back right seat instead. experiences, the viewer feels invisible; in others, one can look down to see one’s body represented onscreen. My arms were those of a white man in his thirties, which happened to match my anatomy but might have been distracting, if not alarming, to most humans.

It was an ambitious production, but it wasn’t uniquely suited to TV—it was like theatre, only with more technical glitches.

In “The Box,” an oral history of television, James Hirschfeld, who worked on “Action,” said, “Sound was the biggest problem.

”An engineer at Wevr built a camera rig out of aluminum and sandbags, to minimize jostling, and the crew did a test shoot with the rig in the passenger seat.

You put your smartphone into a portable device like a Google Cardboard or a Samsung Gear—or you use a more powerful computer-based setup, such as the Oculus Rift or the HTC Vive—and the device engulfs your field of vision and tracks your head movement. In 1999, Bravo’s cousin, who lived in Brooklyn, had a brief confrontation with the N. A three-hundred-and-sixty-degree camera rig picks up everything within view, including boom mikes, external lighting, and lingering crew members. (The camera rig itself is edited out later.) On traditional film sets, the director and the crew are present for almost every scene; on this shoot the car would hold only the camera rig and the actors, who would be wearing wireless microphones.

It’s possible to remove such visual detritus in postproduction, but this adds time and expense. Bravo told her cast to think of the project not as a film but as an intimate play with an invisible audience. crews, Bravo and her team would shoot with Go Pros—cheap, shatterproof cameras that are marketed to extreme athletes, not filmmakers.

“Over time, that sort of thing becomes intuitive to an audience,” Shapira said.

Television broadcasting began in the nineteen-twenties, but it took decades for TV to become a medium.