496 research outputs found

    Cinematic virtual reality as a new narrative form

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    Over the past three decades, digital information technologies have rapidly transformed our means of communication and introduced new media forms. Some of the most recent developments in this respect are the emergence of 360-degree video cameras (both at the consumer level and for industrial production), the introduction of computer applications to process 360-degree video images, and wide-scale adoption of head-mounted displays (HMD). These technologies, all working together, seem to provide us with a new form of filmmaking, new potentials for cinematic storytelling, and in fact, a new form of cinematic experience. Although 360-degrees films that are produced to be watched on HMDs have immensely evolved in the past decade, the creative projects produced in this field remains relatively experimental. Cultivating the widespread adoption of VR headsets towards developing new narrative forms and exploiting the potentials of this new medium towards storytelling remains as challenging yet promising task. This paper will examine the narrative potentials of a new media form, which is called Cinematic Virtual Reality (CVR).Publisher's Versio

    The techniques of cinema for head-mounted displays

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    A recent convergence of technologies has made it possible for companies like OculusVR to bring virtual reality (VR) into the mainstream with relatively affordable head-mounted displays (HMD). Filmmakers are appropriating this new technology as a tool of cinema, which positions the screen mere centimeters in front of the viewer’s eyes, filling their entire field of view (FOV) allowing them to feel present in another reality. This compression of the cinematic apparatus poses several creative and theoretical challenges, which have been the basis of my work. As a filmmaker grounded by a practice in traditional cinema, my research has centered around the creation of my own HMD film. Crawl Space is explicitly about my memories of childhood. The film also investigates the ramifications of mapping an established cinematic vocabulary onto HMD cinema, which fundamentally complicates the meanings that are signified by traditional formal techniques

    VR Storytelling

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    The question of cinematic VR production has been on the table for several years. This is due to the peculiarity of VR language which, even if it is de ned by an image that surrounds and immerses the viewer rather than placing them, as in the classic cinematic situation, in front of a screen, relies decisively on an audiovisual basis that cannot help but refer to cinematic practices of constructing visual and auditory experience. Despite this, it would be extremely reductive to consider VR as the mere transposition of elements of cinematic language. The VR medium is endowed with its own speci city, which inevitably impacts its forms of narration. We thus need to investigate the narrative forms it uses that are probably related to cinematic language, and draw their strength from the same basis, drink from the same well, but develop according to di erent trajectories, thus displaying di erent links and a nities

    Evaluating 360° media experiences

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    360° media experiences have existed for centuries. Viewing painted panoramas, such as those displayed in the 18th-century rotunda in Leicester Square, was a popular Georgian pastime. Recent advances in capture, processing and display technology have created a surge of interest in the medium, with millions of people now viewing captured 360° media immersively. Despite the popularity of 360° media experiences, there are still substantial technical issues associated with production and distribution, and little research has been done that explores the end-user experience. As these experiences become commonplace, understanding the impact of such media becomes critical. In this work, two user studies were conducted that investigated the effects of 360° media of different forms. The first study looked at the impact of the display type when viewing cinematic virtual reality captured as 360° video. The study used three display types: a head-mounted display (HMD); a standard 16:9 TV; and a focus-plus-context display. Several metrics were explored, including spatial awareness, memory and narrative engagement. The second study investigated the impact of different transition types when exploring static scenes captured as multi-view 360° images in a HMD. The three transitions investigated were a linear movement through a 3D model of the scene, an instantaneous teleportation, and an image-based warp using Möbius transformations. Metrics investigated included spatial awareness, preference, and several subjective qualities such as the feeling of moving through the space. Additionally, an enabling technology for such experiences was investigated. Object removal in 360° images was explored in detail, with extensions for video described for simple cases. Taken together, these three projects further our current understanding of how 360° media can be implemented, and examine some of the most critical aspects of how users engage with these experiences

    Minard revisited: exploring augmented reality in information design

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    This study intends to test and confirm the interest and viability of incorporating augmented reality (AR) technologies in cultural mediation driven by information design, focusing on narrative representation. It is specifically intended to explore semantic relations between reality and virtuality in augmented narratives, ie. expanded narratives through the multimodality enhanced by the use of interactive processes based in augmented reality systems. Departing from Charles Minard’s Figurative Map (1869), three experiments were conducted, in order to reinterpret the program embodied in that artefact, testing several hypotheses in which, through augmented reality, the combination of different modes and media configures different semantic relations between real and virtual. The action-reflection approach undertaken with Figurative Map experiments enabled us to observe and openly systematize different augmented reality functions regarding the physical instance, which can potentially expand traditional forms of information design. Although they are not entirely extrapolatable, the proposal of virtual functions regarding reality were repurposed and adapted from the illustration field, specifically from the semantic relation between text and image. It is acknowledged that this is an open model to be reconsidered and reformulated through several action-reflection iterations and fostered through the narrative study.publishe

    Narratives of ocular experience in interactive 360° environments

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    The purpose of this research project was to examine how immersive digital virtual technologies have the potential to expand the genre of interactive film into new forms of audience engagement and narrative production. Aside from addressing the limitations of interactive film, I have explored how interactive digital narratives can be reconfigured in the wake of immersive media. My contribution to knowledge stems from using a transdisciplinary synthesis of the interactive systems in film and digital media art, which is embodied in the research framework and theoretical focal point that I have titled Cynematics (chapter 2). Using a methodology that promotes iterative experimentation I developed a series of works that allowed me to practically explore the limitations of interactive film systems that involve non-haptic user interaction. This is evidenced in the following series of works: Virtual Embodiment, Narrative Maze, Eye Artefact Interactions and Routine Error - all of which are discussed in chapter 4 of this thesis. Each of these lab experiments collectively build towards the development of novel interactive 360° film practices. Funneling my research towards these underexplored processes I focused on virtual gaze interaction (chapters 4-6), aiming to define and historically contextualise this system of interaction, whilst critically engaging with it through my practice. It is here that gaze interaction is cemented as the key focus of this thesis. The potential of interactive 360° film is explored through the creation of three core pieces of practice, which are titled as follows: Systems of Seeing (chapter 5), Mimesis (chapter 6), Vanishing Point (chapter 7). Alongside the close readings in these chapters and the theoretical developments explored in each are the interaction designs included in the appendix of the thesis. These provide useful context for readers unable to experience these site-specific installations as virtual reality applications. After creating these systems, I established terms to theoretically unpack some of the processes occurring within them. These include Datascape Mediation (chapter 2), which frames agency as a complex entanglement built on the constantly evolving relationships between human and machine - and Live-Editing Practice (chapter 7), which aims to elucidate how the interactive 360° film practice designed for this research leads to new way of thinking about how we design, shoot and interact with 360° film. Reflecting on feedback from exhibiting Mimesis I decided to define and evaluate the key modes of virtual gaze interaction, which led to the development of a chapter and concept referred to as The Reticle Effect (chapter 6). This refers to how a visual overlay that is used to represent a user's line of sight not only shapes their experience of the work, but also dictates their perception of genre. To navigate this, I combined qualitative and quantitative analysis to explore user responses to four different types of gaze interaction. In preparing to collect this data I had to articulate these different types of interaction, which served to demarcate the difference between each of these types of gaze interaction. Stemming from this I used questionnaires, thematic analysis and data visualisation to explore the use and response to these systems. The results of this not only supports the idea of the reticle effect, but also gives insight into how these different types of virtual gaze interaction shape whether these works are viewed as games or as types of interactive film. The output of this allowed me to further expand on interactive 360° film as a genre of immersive media and move beyond the realm of interactive film into new technological discourses, which serves to validate the nascent, yet expansive reach of interactive 360° film as a form of practice. The thesis is concluded by framing this research within the wider discourse of posthuman theory as given that the technologies of immersive media perpetuate a state of extended human experience - how we interact and consider the theories that surround these mediums needs to be considered in the same way. The practice and theory developed throughout this thesis contribute to this discourse and allow for new ways of considering filmic language in the wake of interactive 360° film practice

    Virtual Reality Methods

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    ePDF and ePUB available Open Access under CC-BY-NC-ND licence. Since the mid-2010s, virtual reality (VR) technology has advanced rapidly. This book explores the many opportunities that VR can offer for humanities and social sciences researchers. The book provides a user-friendly, non-technical methods guide to using ready-made VR content and 360° video as well as creating custom materials. It examines the advantages and disadvantages of different approaches to using VR, providing helpful, real-world examples of how researchers have used the technology

    The ARIN Virtual Reality Experience and Writing about VR for a Popular Audience

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    ARIN is a virtual reality, sci-fi horror experience for the HTC Vive, which incorporates visual and tactile performance elements and staging to increase the viewer’s sense of immersion. The first part of this paper covers the design process of the ARIN Virtual Reality Experience from concept to completion including playtesting and critical analysis. The second, written individually by Izzie Schiavone, explores how popular science writing uses the Hero\u27s Journey as a narrative structure that facilitates the explanation of scientific knowledge for a popular audience. The findings from studying popular science writing were used to write an article about VR and the development of the ARIN Virtual Reality Experience
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