{"id":7870,"date":"2021-06-16T11:44:12","date_gmt":"2021-06-16T09:44:12","guid":{"rendered":"http:\/\/lucidrealities.studio\/?p=7870"},"modified":"2021-11-25T11:47:47","modified_gmt":"2021-11-25T10:47:47","slug":"xr-studio-lucid-realities-sees-gold-in-museum-distribution-market","status":"publish","type":"post","link":"https:\/\/lucidrealities.studio\/index.php\/en\/2021\/06\/16\/xr-studio-lucid-realities-sees-gold-in-museum-distribution-market\/","title":{"rendered":"Lucid Realities | museum distribution market"},"content":{"rendered":"\n

When producer Chlo\u00e9 Jarry launched the Paris-based XR studio Lucid Realities<\/a>, she wanted to open an immersive experience production company structured with a distribution component as well.<\/p>\n\n\n\n

\u201cIf we want to continue producing, we have to be able to distribute,\u201d Jarry tells Variety<\/a><\/em>. \u201cFestivals are obviously extremely important, but they attract a limited and often self-selecting public of people already in this world. Fixed cultural venues, on the other hand, could be promising homes where VR experiences can exist in the longer term.\u201d<\/p>\n\n\n\n

Jarry learned from experience. In 2017, she executive produced Karim Ben Khelifa<\/a>\u2019s \u201cThe Enemy<\/a>,\u201d an ambitious AR\/VR installation that called for up to 20 participants and 350 yards of floorspace. Finding as much wasn\u2019t so easy, so when the project\u2019s festival acclaim starting drawing the attention of other cultural actors, Jarry had a eureka moment.<\/p>\n\n\n\n

\u201cI saw that museums had a lot of potential in terms of VR distribution,\u201d she explains. \u201cMuseums are already cultural institutions, and already benefit from mediation and space; people go to learn, discover, and try and experience new things. All of that could be very relevant for the VR industry.\u201d<\/p>\n\n\n\n

And so, when she founded Lucid Realities<\/a> (a part of France\u2019s CLPB Media Group<\/a>) in 2018, she did so with the express interest of paving new inroads within the museum exhibition market.<\/p>\n\n\n\n

\u201cWe\u2019re looking to create a network of museums,\u201d says Jarry. \u201cWe offer training and pedagogical tools, we offer a catalog of titles created with their capacities in mind and that can complement the other works in their collections.\u201d<\/p>\n\n\n\n

\u201cThe idea is to replicate the audiovisual model,\u201d adds Alexandre Roux, Lucid Realities\u2019 head of distribution. \u201cWe want construct a durable business model. We sell broadcast rights to cultural institutions and accompany them in setting up the space.\u201d<\/p>\n\n\n\n

\u201cWe often push them to monetize these spaces,\u201d Roux continues. \u201cThat\u2019s very important. First, the public is ready to pay, and second, these installations can be very costly. Charging admission is a way to solidify this market for the long term, and, of course, to ensure a return on investment.\u201d<\/p>\n\n\n\n

Looking forward, the Lucid Realities team hopes to bring on initial broadcasters and exhibitors as co-production partners. At NewImages<\/a> this year, the studio presented \u201cWhen She Gets Out\u2026<\/a>\u201d, an AR experiences directed by Gordon<\/a> and Marie Sellier and co-produced with Paris\u2019 Mus\u00e9e d\u2019Orsay<\/a> that follows the girl from Edgar Degas\u2019 \u201cLittle Dancer of Fourteen Years\u201d as she breaks free of her pedestal and moves through the museum and its various works.<\/p>\n\n\n\n

\u201cFrench museums like the Mus\u00e9e d\u2019Orsay have an international brand,\u201d says Roux. \u201cHarnessing that brand can then allow us to more easily distribute these projects all around the world.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

When producer Chlo\u00e9 Jarry launched the Paris-based XR studio Lucid Realities, she wanted to open an immersive experience production company structured with … <\/p>\n

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