The terms “virtual reality” and “augmented reality” are being used for too many product categories. These phrases have become so generic that they are losing most of their meaning, as “cloud” and “internet of things” (IoT) have already done. The industry needs a simple but more precise market segmentation for these new digital realities, so that we can better connect customers with emerging products and services. A new segmentation must describe a wide range of new media applications, from 360° cameras to Pokemon Go to Oculus Rift and beyond to Microsoft’s HoloLens. This is an overview of TIRIAS Research’s digital realities market segmentation.
Our segments are based on how people use these products and technologies, not which technologies are used or where people use them. The key to keeping it simple is to look at two dominant and independent ways in which people interact with these products:
Agency: how do people interact with a story or a task to control the story’s narrative or the flow of a task? For the most part, our media industries tell people fixed stories (diagnostics, books, blogs, podcasts, photos, video) or exploratory stories (debugging, games). New media technologies are widening the aperture for interacting with previously static media (such as photographs) and enable greater freedom of movement to roam virtual worlds (which turns games into quests). We divide digital reality intolimited stories told from an author’s point of view, andunlimited stories that enable people to create their own story lines on a stage set by an author.
Immersion: which world has people’s attention? For most entertainment, an author controls the range of outcomes for a person who is immersed in the created reality of the experience (reading a story, watching TV, listening to a song, playing a game). Real world interaction has mostly been limited to interacting with service manuals or live action roleplaying (yes, it’s a thing, from battle reenactments toLARPing). Digital realities will allow individual people to personally interact with digital artifacts superimposed on the real world. We divide digital reality into full immersion in acreated world and real-time, real world interaction.
The result is our two-by-two chart, above. Our chart nicely summarizes key difference between digital reality market segments. Plus, we only had to name one new segment: “2D Overlay”. However, we’ll start with the simplest viewer experiences first.
360 Viewpoint (360V): a spherical photograph or video that surrounds a viewer in every direction; the viewpoint is fixed by the author. This includes both recordings and live video streaming. 360V is based on real world recordings, not live interactions. It enables viewers to choose a direction to look – even though the author offers a starting view into the sphere and may guide the viewer’s gaze in through a video if the viewer chooses.
The cost of 360V cameras is already edging down into consumer price points, with good consumer-to-consumer (C2C) content sharing potential. 360V will be one of the hottest short-term opportunities in this space, alongside VR gaming (below). There are also applications for 360V cameras and viewing in robotics and drones. More information on 360V is available in the Medium article 360 Degree Photos and Video Will Move Social Media.
Article from: Forbes