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The NAB Show has partnered with Kaleidoscope, the largest community for virtual reality (VR) creators, to host the inaugural Kaleidoscope VR Showcase at NAB Show, which will take place April 18–21 in Las Vegas.

The Kaleidoscope VR Showcase at NAB Show will feature groundbreaking virtual reality films and immersive experiences, which hail from North America, Europe, South America and beyond. For the first time, NAB Show attendees will have the opportunity to travel to virtual worlds and experience the most innovative narrative, environmental and interactive content.

“With the rapid evolution of media and entertainment, it’s clear that virtual reality will play a prominent role in the future of film and broadcasting,” said NAB EVP of Conventions and Business Operations Chris Brown. “Kaleidoscope will be a major highlight of our virtual reality educational programming--we can’t wait to see what this next generation of artists brings to the NAB Show floor.”

Founded in 2015 by entrepreneur René Pinnell and former Industrial Light & Magic technical director Michael Breymann, Kaleidoscope empowers independent VR artists and works to promote the visibility of VR as the new frontier of film and entertainment. Previous to its involvement with NAB Show, the inaugural Kaleidoscope VR Film Festival toured across the North American continent, visiting 10 cities that included Austin, Los Angeles, New York, Vancouver, and more in 2015.

“As the home of unique and award-winning virtual reality content and artists, Kaleidoscope is thrilled to bring this new frontier of experiential entertainment to NAB Show,” said René Pinnell, co-founder of Kaleidoscope. “The success of our North American tour highlighted the resounding interest in this medium, and the artists that are its pioneers. There’s no better place to showcase this extraordinary movement in media than at NAB Show.”

Palmer Luckey doesn't just want to sell a bunch of virtual reality headsets. He wants buyers to use them every day.

The founder of Oculus told a group of developers working on VR content Wednesday that the immersive medium's success should be measured by time- not necessarily money - spent on it.

"We can sell a bunch of things that will sit on a desk and stay dusty," he said on stage at the Vision Summit. "I wouldn't consider that successful. If we can make things that people use every day, that's a good sign for the future of virtual reality as an ecosystem."

Oculus' technology surrounds wearers' eyes with 360-degree views of virtual worlds that are either created inside a computer or captured with several cameras. The headset tracks a users' movement and can be used with Oculus' wand-like Touch controllers to create an interactive experience.

The Facebook-owned company is scheduled to launch the Rift headset March 28. Oculus incited sticker shock in January when it announced the consumer edition would cost $599 - or $1,499 when bundled with a high-powered PC required to use it.

"We shipped a couple hundred thousand developments kits, but that's nothing on what we plan on doing this year," teased Luckey.

The first-ever Vision Summit was organized by game engine purveyor Unity, which unveiled a tool Wednesday that allows VR designers to create and manipulate virtual worlds while wearing headsets.

Luckey announced that the Rift would come with a four-month trial of a professional edition of the Unity engine, so that all Rift buyers "could be a creator, not just a consumer."

Unity CEO John Riccitiello cautioned the 1,400 attendees at the Hollywood & Highland Center that 2016 will not be the year that VR sees mainstream adoption and that the technology has been "overhyped" by the media.

"It's going to be bigger in the long run," said Riccitiello, who previously served as president and COO of video game publisher Electronic Arts.

Riccitiello projected 1 billion consumers will own VR technology in 5 to 10 years, pointing to the similar growth of such technologies as smartphones.

While VR on smartphones is now available with headsets like Google Cardboard and Samsung Gear, higher fidelity experiences won't be available until the launch of the Oculus Rift, Sony's PlayStation VR and Vive from HTC and Valve.

PlayStation VR and Vive will be available later this year for yet-to-be-announced prices.

Valve co-founder Gabe Newell sent the Vision Summit audience into an Oprah Winfrey-like frenzy when he announced that all the developers in attendance would receive a free Vive system.

"You get a Vive, and you get a Vive, and you get a Vive," the veteran game designer joked.

The conference continues through Thursday with such talks as "Emotional Presence in Virtual Reality" and "VR in the Classroom."

The Sundance film “The 4th” was shot using a Blackmagic Pocket Cinema Camera and Blackmagic Cinema Camera EF, and was graded with DaVinci Resolve 12 Studio. The film by director and writer Andre Hyland was shot by DPs Shane Bruce Johnston and Charles J. Gibson, and color graded by Mark Todd Osborne at MTO ColorData.

“The 4th” is a comedy that tells the story of a slacker named Jamie who tries to make his way through the Fourth of July while dealing with chain of bad luck and escalating situations. It’s the first full length film by Hyland, who won Sundance acclaim for his 2014 short film “Funnel.” Also starring Hyland, the film explores how a chance encounter can completely change a day’s course of events through the lens of a slacker comedy.

For Johnston and Gibson, the film’s improvisational humor and run and gun style called for a two-camera approach, using Blackmagic Design’s Pocket Cinema Camera and Blackmagic Cinema Camera EF. With the cameras, the DPs were able to easily shoot on the go using handheld rigs.

“When we were evaluating gear for the film, it was crucially important that we selected cameras that could produce cinematic images while also being compact enough for guerrilla style shooting,” said Johnston. “With the Blackmagic Design cameras, we achieved our goal of producing an indie film with cinematic moments.”

With Jamie’s journey taking him throughout Los Angeles, the film was shot in a variety of locations, including dark streets and packed cars. The Blackmagic Design cameras allowed Johnston and Gibson to capture the shots they needed, even when they didn’t have a lot of light or were in cramped quarters.

“Both of the cameras worked very well in low light, so we didn’t need to worry about a lighting setup,” said Gibson. “This was especially helpful when we were on sidewalks just working under the streetlights.”

Johnson added, “The Pocket Cinema Camera’s size also came in handy during shoots in the car. Even when there were four actors packed in we were able to use the camera’s flexibility to our advantage and get the shots we needed. For the film’s establishing shot, I was perched about 40 feet up in the air and had to capture a long sequence of Hyland walking toward me from down the street. The shot was a continuous take for more than five minutes and there’s no way I could have pulled it off with a bulkier camera.”

Blackmagic Design’s solutions also helped on the post production side, with Osborne using DaVinci Resolve 12 Studio for the film’s color grading.

“‘The 4th’ was shot in a relatively short period of time so the challenge was to keep all of the scenes balanced and natural looking,” said Osborne. “It’s a slice of life piece so it just needed strong, rich colors and nice skin tones. With DaVinci Resolve 12 Studio, I was able to accomplish the needed balance and look that the film called for.”

Imagine being able to watch all 22 players at the snap with video that expands from your living room television set to the entire wall.

Curious about how big Terrence "Pot Roast" Knighton really is, or how 5-foot-11 quarterback Russell Wilson is able to use his high release point to avoid getting passes batted down? Try standing next to a hologram of Knighton right in your den on an NFL Sunday, or watching a hologram of Wilson release the ball right over your outstretched arm.

Wonder why your favorite quarterback just threw an interception, or how a big hole opened for a running back on a touchdown run? Just load up a 3-D version of the play on your coffee table and zoom it, pause it and rotate it around 360 degrees to see how the cornerback baited the quarterback into a bad throw, or a pulling guard help spring a long run.

The designers at Microsoft believe those seemingly far-fetched dreams could one day be a reality in living rooms around the country. Microsoft showed off its HoloLens technology at the Super Bowl this week as the company tries to redefine the experience of watching NFL football at home.

"This stuff is coming," said Brian Rolapp, the executive vice president of media for the NFL. "It's not a question of if, it's a question of when."

The technology is not ready to be released to the public, but Microsoft used a game played between Seattle and San Francisco at Levi's Stadium earlier this year to show the capabilities. With 3-D capable cameras spread around the entire stadium, plays were able to be brought to your coffee table with the press of a button on your phone or the movement of your hands.

All 3-D forms of the 22 players were lined up and viewers could walk around the table to see different angles, pause the video or zoom in to certain parts of the field.

On one play in particular you could see 49ers cornerback Tramaine Brock eyeing Wilson from his outside zone coverage spot. Wilson thought he had a streaking Doug Baldwin open for a touchdown but couldn't see Brock, who broke on the ball and made an interception in the end zone.

"If you could ever put a fan in that position it would completely open their eyes to a whole new realm of what professional football is," New Orleans quarterback Drew Brees said after seeing the technology. "It's really cool watching on TV, it's really cool watching in the stadium. I'm sure we will get to the point where they are able to experience it that way and it will be like a lightbulb went on."

Microsoft wants to show it off now to developers and content providers such as the NFL to see what creations can best use the HoloLens, which costs about $3,000 right now. But the designers at Microsoft believe perhaps some time in the next decade it could be available for consumers.

The NFL has worked closely with Microsoft as its technology partner in developing the prototype showed off this week. While having the HoloLens could completely change the at-home viewing experience, Rolapp is not concerned it could deter people from wanting to watch at the stadium.

Rolapp said it's crucial for the NFL to also work on improving the stadium experience by offering better Internet connection and more access to highlights, replays and fantasy statistics.

"The stadium is still the best place to watch football," Rolapp said. "People who come to the stadium sacrifice time and money and make a big investment, so it's our responsibility to make the stadium experience as good as we can. It's not an either-or. The fact of the matter is the majority of people view the game from home. I think you have to improve both aggressively and make both experiences as good as possible."

While the 3-D view was the most eye-opening part of the demo, the HoloLens also allows for views of the telecast to expand from the confines of a television screen to fill an entire wall, allowing all 22 players to be seen at once.

It also allows for in-game stats or fantasy statistics to pop right up on your wall beside the footage and can even produce holograms that bring players right into the living room, where you can measure yourself up to see their size.

"That's something that maybe you don't appreciate and get when you watch a lot of big guys running around out there," Brees said. "You really get to put into perspective when one of those guys is standing next to you and it's Calvin Johnson, and you're like 'Oh my gosh.' Or Cam Newton and you're like, 'I didn't know they grew quarterbacks that big.' It certainly looks very life like when they're standing right there in your living room."