Viewing the Future? Virtual Reality In Journalism

Journalism underwent a flurry of virtual reality content creation, production and distribution starting in the final months of 2015. The New York Times distributed more than 1 million cardboard virtual reality viewers and released an app showing a spherical video short about displaced refugees. The Los Angeles Times landed people next to a crater on Mars. USA TODAY took visitors on a ride-along in the "Back to the Future" car on the Universal Studios lot and on a spin through Old Havana in a bright pink '57 Ford. ABC News went to North Korea for a spherical view of a military parade and to Syria to see artifacts threatened by war. The Emblematic Group, a company that creates virtual reality content, followed a woman navigating a gauntlet of anti- abortion demonstrators at a family planning clinic and allowed people to witness a murder-suicide stemming from domestic violence.In short, the period from October 2015 through February 2016 was one of significant experimentation with virtual reality (VR) storytelling. These efforts are part of an initial foray into determining whether VR is a feasible way to present news. The year 2016 is shaping up as a period of further testing and careful monitoring of potential growth in the use of virtual reality among consumers

Experiential media and transforming storytelling: A theoretical analysis

Journalism and media content rests on a foundation of storytelling. Shaping this storytelling is the quality of the medium of content delivery and the nature of public engagement. With the development of digital, networked media, the audience’s role is transforming to be more of an active user who experiences stories as a participant rather than as a passive receiver of content. This article proposes a new model of experiential media based on six primary qualities of the digital environment. These qualities are 1) interactivity, 2) immersion, 3) multi-sensory presentation, 4) algorithmic and data-driven, 5) first-person perspective, and 6) a natural user interface. Augmented reality and virtual reality are among the most-widely discussed experiential media forms, but others include, for instance, advanced ultra-high-definition video. Experiential media bring implications for the nature, production, impact and the future of mediated storytelling

Post-cinematic spectatorship in virtual reality: Negotiating 3DoF and 6DoF in ‘Queerskins: Ark’

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Proposing a Phase Model for 360° VR Journalism: Resources and Challenges of Production

The emergence of 360° technology and marketable virtual reality (VR) glasses has enabled 360° VR journalism to develop unique storytelling possibilities and to generate heightened levels of immersion and empathy for the audience. Nevertheless, the technology and therefore the journalistic output have difficulties in reaching a larger market of users. Exploring possible reasons for this, the article provides insights into seven guided interviews with journalists experienced in the production of 360° VR content in Germany. Based on these insights, it proposes a production phase model and considers the resources of time, personnel and technology, the special features of storytelling, the new job description of 360° VR journalists, and the dependence of these aspects on the current situation of 360° VR journalism. It thereby provides both inspiration for further research and practical points of reference for journalists

Influence of Narrative Elements on User Behaviour in Photorealistic Social VR

Social Virtual Reality (VR) applications are becoming the next big revolution in the field of remote communication. Social VR provides the possibility for participants to explore and interact with a virtual environments and objects, feelings of a full sense of immersion, and being together. Understanding how user behaviour is influenced by the shared virtual space and its elements becomes the key to design and optimize novel immersive experiences that take into account the interaction between users and virtual objects. This paper presents a behavioural analysis of user navigation trajectories in a 6 degrees of freedom, social VR movie. We analysed 48 user trajectories from a photorealistic telepresence experiment, in which subjects experience watching a crime movie together in VR. We investigate how users are affected by salient agents (i.e., virtual characters) and by the narrative elements of the VR movie (i.e., dialogues versus interactive part). We complete our assessment by conducting a statistical analysis on the collected data. Results indicate that user behaviour is affected by different narrative and interactive elements. We present our observations, and we draw conclusions on future paths for social VR experiences

Autopoiesis through agency in virtual reality nonfiction

Documentary filmmakers are gradually embracing immersive media to create novel Virtual Reality Nonfiction (VRNF) content. Over the past twenty years initial experimentation in this new medium has brought forward numerous linearly structured 360° documentaries that maintain a close link to traditional documentary modes. More recently, we have observed a shift from the relatively passive 360° cinema towards more open-world, non-linear, game-like interactive experiences that challenge traditional definitions of the documentary genre. Volumetric world-building techniques provide nonfiction creators with additional tools that afford ‘viewer-users’ spatial and interactive agency, leading to a heightened autopoietic realisation of the storyworld. VRNF creators have the potential to allow their viewer-users enhanced control over framing, temporal ordering of the plot and spatial unfolding of the diegetic world, thus inviting them to become actual co-creators of a deeply personal and personalized experience. This article addresses how VRNF may go beyond the mere ‘documentation’ of people, places or past events that existed in a pre-filmic reality and provide viewer-users through augmented agency a unique present-tense autopoietic experience that pushes the boundaries of traditional 2D documentary.<br/

Drones, Augmented Reality and Virtual Reality Journalism: Mapping Their Role in Immersive News Content

Drones are shaping journalism in a variety of ways including in the production of immersive news content. This article identifies, describes and analyzes, or maps out, four areas in which drones are impacting immersive news content. These include: 1) enabling the possibility of providing aerial perspective for first-person perspective flight-based immersive journalism experiences; 2) providing geo-tagged audio and video for flight-based immersive news content; 3) providing the capacity for both volumetric and 360 video capture; and 4) generating novel content types or content based on data acquired from a broad range of sensors beyond the standard visible light captured via video cameras; these may be a central generator of unique experiential media content beyond visual flight-based news content