![\"Designing](\"https:\/\/www.immersion.com\/wp-content\/uploads\/2017\/10\/designing-haptics-for-entertainment-1.jpg\")
<\/p>\nPeople love entertainment. But their tastes vary, giving movie trailer designers a wide variety of experiences to create. From dramas to fantasies to comedies, tastes and genres are as diverse as audiences themselves.<\/p>\n
Yet there is a consistent theme throughout all movie trailers. They all tell stories. Trailers must set expectations and excite people about the movie they represent, whether it features gun-toting gangsters or squishy yellow Minions.<\/p>\n
We spoke with Brian Sherry of Immersion, who helped produce haptic-enhanced trailers for Jason Bourne, Minions, Ghost in the Shell, and Fast & the Furious, among others. He said that effects are as varied as people\u2019s tastes for entertainment, but the role of haptic design remains the same.<\/p>\n
The best haptic design comes from sources that audiences can identify with \u2014 or, on the contrary, have never felt before. People can identify with natural textures like a gentle wind or crumbling rocks, which makes these sensations\u00a0easy to recreate. They\u2019re known quantities, and getting them to work either feels correct or not.<\/p>\n
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At the same time, many special effects, especially in science fiction and fantasy, have no bearing in real life. People don\u2019t know what to expect. That means haptic designers can get creative. \u201cMany people have watched Ghostbusters,\u201d Brian said. \u201cBut nobody knows what it feels<\/em> like<\/em>. What does ghost slime feel like?\u201d<\/p>\n Just as a good lighting director uses lighting to set mood \u2014 without drawing attention to the lights \u2014 good haptic designers use vibrations in concert with audio and video.<\/p>\n Take helicopter blades, for example.<\/p>\n \u201cWhen I try to visualize how the haptic effect would feel, I try to visualize it in waveform, and also what the blade actually looks like in real life,\u201d Brian said. \u201cYou get a sound from what it\u2019s doing to the air. The way I see it, the haptic design is more rounded and tails off towards the end, so you get a thump-thump-thump sound.\u201d<\/p>\n Each effect gets a unique waveform. Unlike helicopter blades, breaking glass operates on higher frequencies. \u201cYou\u2019d use more of a triangle wave design\u201d for glass, Brian said.<\/p>\n Helicopters, breaking glass, and fluttering birds all appeared in Brian\u2019s favorite trailer, one produced for The Mummy<\/em>. Unlike many spots, which reach 20 to 30 seconds, this trailer lasted a full two-and-a-half minutes \u2014 plenty of time for engaging haptics.<\/p>\n At one point, birds attack a helicopter, smashing through its windscreen and causing general mayhem. Soon after, an evil spirit flies through ancient Egyptian temples which crumble in its wake. \u201cYou see it, you hear it, now you can actually feel it crumbling in your hands,\u201d Brian said.<\/p>\n But effects mean nothing without purpose. Brian pointed out that the best trailers themselves tell stories with pictures and sound. And in the end, it doesn\u2019t matter if the story aims to thrill adults or charm children. Well-choreographed vibrations are an important tool to keep audiences entertained.<\/p>\n","protected":false},"excerpt":{"rendered":" People love entertainment. But their tastes vary, giving movie trailer designers a wide variety of experiences to create. From dramas to fantasies to comedies, tastes and genres are as diverse as audiences themselves. Yet there is a consistent theme throughout all movie trailers. They all tell stories. Trailers must set expectations and excite people about […]<\/p>\n","protected":false},"author":4,"featured_media":10714,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-10686","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"translation":{"provider":"WPGlobus","version":"3.0.0","language":"ja","enabled_languages":["en","ja","zh"],"languages":{"en":{"title":true,"content":true,"excerpt":false},"ja":{"title":false,"content":false,"excerpt":false},"zh":{"title":false,"content":false,"excerpt":false}}},"acf":[],"yoast_head":"\nDesigning across the senses<\/h2>\n
![\"Designing](\"https:\/\/www.immersion.com\/wp-content\/uploads\/2017\/10\/designing-haptics-for-entertainment-2.jpg\")
<\/p>\nEffects with meaning<\/h2>\n
![\"Designing](\"https:\/\/www.immersion.com\/wp-content\/uploads\/2017\/10\/designing-haptics-for-entertainment-3.jpg\")
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