Director Adriaan Lokman, talks about his new VR film Flow, recently rewarded by the special Jury Prize at the 80th Venice International Film Festival.

Adriaan, you are a director and designer. What led you to work with the virtual reality format for your new artwork Flow? Is it adapted from your multi-awarded eponymous short film?

Adriaan Lokman – I have been fascinated by VR since the beginning. However, it was less accessible back then, and my computer’s processing speed was inadequate for rendering high resolutions. Consequently, I opted to create a stereoscopic version initially. This endeavor taught me valuable lessons in handling depth, animation, and utilizing stereoscopy to enhance the storytelling. 

Adriaan Lokman – Upon completing the film, I felt an immediate urge to develop a VR version. I believed that it could provide an even more immersive and overwhelming experience. The 3D iteration of Flow had already demonstrated this potential; the concept’s transparency and delicate lines created a remarkable sense of depth.

Adriaan Lokman – Nonetheless, what truly sets VR apart is its capacity to transport you into the atmosphere, evoking the sensation of floating with the wind. I had experimented with this in the film version as well, achieving a reasonable degree of success. However, in a traditional cinema setting, the awareness of one’s surroundings remains ever-present. Your fellow audience members and the ceiling do not share the weightless quality. 

 “In contrast, VR envelops you within a distinct universe, effectively stimulating the senses without the distractions of ambient disruptions.”

Adriaan Lokman

In this piece, why did you choose the wind as the medium to support the whole work? Do these visible currents of air have another special meaning for you?

Adriaan Lokman – It’s not that air carries a specific significance for me, but the fascination rather lies in its profound importance. In the Netherlands, the presence of wind is a constant. We cycle a lot, every individual of my generation can recount the experience of cycling on a dyke against the wind. Sailing holds a special place in my heart; through sail ships, we’ve built part of our wealth and history. Wind’s ubiquity is undeniable. Its sheer magnitude dwarfs any human construction, underpinning our very existence. Yet, despite its significance, it remains invisible.

You created a 3DOF experience somehow against the current 6DOF trend. Can you give us insight as to why you took that artistic decision?

Adriaan Lokman – The decision was driven not solely by artistic considerations but was equally grounded in technical factors. We embarked on an endeavor to create a 6DOF version using Unity. However, looking back three years ago, we encountered challenges in maintaining the requisite level of detail within the scenes, which rendered the continuation of that path unjustifiable. Pursuing the 6DOF direction would have resulted in a distinctly different graphical style—markedly less detailed and more rugged in appearance. In essence, we struggled to achieve the same level of artistry as we had accomplished in the 3DOF version, failing to effectively “paint” with the dynamic quality of the air.

Adriaan Lokman – Furthermore, the primary benefit of 6DOF would have been the capability to explore scenes from varying angles, with the freedom to move around. Yet, this approach introduced a predicament—certain objects obstructing the view of the primary action. Addressing this conundrum would necessitate the construction of a system capable of discerning scene priorities, selectively blocking elements from view without compromising the scene’s nuance and significance.

Adriaan Lokman – Following our initial 3DOF test, feedback from the 6DOF department indicated that it really looked like 6DOF, as long as you stay in your chair.

What was the collaborative creative process like, in particular regarding the sound in this multisensory experience?

Adriaan Lokman – Given the experimental nature of my work, which has so far lacked dialogue, the significance of sound and music cannot be overstated as they serve as essential components in aiding the audience’s comprehension. To achieve this, I engage in close collaboration with composers and sound designers during the earliest phases of production. Whenever I create a specific action, I promptly incorporate sound to assess whether the intended message is effectively conveyed. This is often true for animation in general. An animator starts from scratch unless a film director already has sound with his footage as a basis to build upon.

“With composer Erik Stok, our collaboration resembles a spirited game of tennis.”

Adriaan Lokman

Adriaan Lokman – I produce a test piece to which he composes music. Subsequently, I modify a second test to align with the newly created soundtrack, sending it back to him for further adjustments. The sound design process commences with an assortment of samples gathered from the internet. These samples grant me a preliminary sense of the action’s dynamics. During post-production, sound designers reconstruct original soundtracks, drawing partially from these samples. In the case of Flow, sound designer Samy Bardet played a pivotal role in crafting distinctive wind and flowing air sounds. Côme Jalibert’s contribution was instrumental in achieving a remarkably convincing spatialized 3D audio mix.

At some point a hurricane sweeps in and contrasts with the calm beginning of the story. Are there other meanings to that apparent disaster?

Adriaan Lokman – A story needs contrasts I think, in this way the calm scenes become calmer and the violent ones stronger. Throughout the experience the wind, in all its appearances, is a metaphor for life. The storm is a metaphor for a turbulent period in the woman’s life.

How do you see virtual reality and other immersive technologies being used in the art sphere? And how do these new technologies relate to traditional art forms?

Adriaan Lokman – I’m highly motivated to continue my exploration of novel concepts and projects in VR. Yet, I recognize that Flow also presents fresh challenges on the horizon. I’m particularly intrigued by the idea of creating a Dome version or an immersive cube experience. These formats would deliver the same sense of immersion as a VR headset while allowing groups of people to collectively engage with the content.

Adriaan Lokman – In addition to my pursuits, I’ve ventured into crafting 3D-printed video installations, which serve as canvases for animated projections. I’m eager to fuse this technique with augmented reality (AR), integrating both visual and auditory dimensions. VR, and by extension, XR, stands as an incredible tool for artists. It grants us the ability to draw significantly closer to our audience, establishing a more immediate and impactful connection with their perceptions. With these tools, we can transport individuals to uncharted realms, transcending familiar boundaries.

“The potential is boundless, though it’s crucial to acknowledge that while the technology is transformative, the true quality of the art produced will always hinge on the artist’s creative powers.”

Adriaan Lokman 

© Valk Productions, Lucid Realities, Lokman Space