Disruptive approaches for subtitling in immersive environments

The Immersive Accessibility Project (ImAc) explores how accessibility services can be integrated with 360o video as well as new methods for enabling universal access to immersive content. ImAc is focused on inclusivity and addresses the needs of all users, including those with sensory or learning disabilities, of all ages and considers language and user preferences. The project focuses on moving away from the constraints of existing technologies and explores new methods for creating a personal experience for each consumer. It is not good enough to simply retrofit subtitles into immersive content: this paper attempts to disrupt the industry with new and often controversial methods. This paper provides an overview of the ImAc project and proposes guiding methods for subtitling in immersive environments. We discuss the current state-of-the-art for subtitling in immersive environments and the rendering of subtitles in the user interface within the ImAc project. We then discuss new experimental rendering modes that have been implemented including a responsive subtitle approach, which dynamically re-blocks subtitles to fit the available space and explore alternative rendering techniques where the subtitles are attached to the scene

Retelling narrative in 360º videos : Implications for audio description

The aim of this article is to question whether the approach for producing audio description (AD) in 2D films needs to be revisited for 360  narrative videos, a new media format characterized by its immersive capacity. To provide answers, a two-step research methodology was designed. First, an extensive literature review was performed. The data obtained during the first step was then used to design and carry out focus groups. The first part of the article discusses the findings from the literature review, comparing standard narratives with 360  narrative videos. It draws some conclusions for audio describers in relation to AD content selection, a key task in the translation of visuals into words. In the second part of the article, data obtained from the focus groups held with describers and AD users is presented. The results suggest possible approaches to AD for 360  content, such as the use of spatial sound and elements of interaction

Analysis of the narrative communication characteristics of virtual reality experiences: meaning-making components of the immersive story

Virtual reality is a technology and media that has evolved dramatically in the last decades. Undoubtedly, the medium has developed its own dynamics and narrative characteristics, due to the possibility of interaction and the ability to allow the viewer/user to focus on different levels of action. In this research, the relevant narrative characteristics in virtual reality are described based on a literature review. Secondly, a sample of online experiences of 360º virtual reality, or cinematic virtual reality (CVR), are analyzed to determine the characters and possibilities of narrative features presented. This analysis can help establish parameters and guidelines for the creation of virtual reality and 360º immersive contents in heterogeneous audiovisual and multimedia fields. The results show both the narrative and aesthetic possibilities of the analyzed videos and their technical and expressive possibilities, in terms of the ability to integrate narrative structures, as well as content in the use of innovative formal resources. In this sense, 360º immersive video becomes an added value of considerable dimensions

Analysis of the Level of Immersion of 360º Video Features Produced by Spanish Media

This paper offers the results of a content analysis on the level of immersion in 360º video features produced by Spanish media. Unlike other conventional ways of storytelling, this new modality provides the viewer with a sensation of being really immerse in a reality that is only being represented, which favors a deeper and more meaningful understanding of it. Our study is divided in three sections. Firstly, we develop a brief theoretical framework that includes the definition and foundations on which immersive feature is based. From this theoretical foundation, we draw a scale to measure the immersion level of these pieces and we confront our proposal to the qualified assessment of 10 experts. Finally we apply this scale on a sample of 148 360º video features produced by Spanish media between January 2015 and December 2017. The aim is to analyze its use and also to infer some good practices that can be useful not only for scholars researching on this new format but also for practitioners producing it.El presente trabajo ofrece los resultados de un análisis de contenido sobre el nivel de inmersión en los vídeos en 360º producidos por medios periodísticos españoles. A diferencia de otras maneras convencionales de contar, esta nueva modalidad genera en el espectador la sensación de encontrarse realmente presente en una realidad que está siendo solo representada. Esto favorece una comprensión más profunda y significativa de ella. Nuestro estudio está dividido en tres secciones. En primer lugar, desarrollamos un breve marco teórico en el que recogemos la definición y fundamentos sobre los que se sostiene el periodismo inmersivo en general y el reportaje en vídeo en 360º en particular. A partir de esta fundamentación, proponemos una escala para medir el nivel de inmersión que hace posible este tipo de piezas y la validamos mediante la evaluación cualificada de un grupo de 10 expertos. Finalmente, aplicamos esta escala sobre una muestra de 148 reportajes en vídeo en 360º publicados por medios periodísticos españoles durante el período comprendido entre enero de 2015 y diciembre de 2017. El objetivo es analizar su uso e inferir una serie de buenas prácticas que puedan resultar de utilidad tanto a académicos que investigan este nuevo formato como a los profesionales que lo producen

Making interaction with virtual reality accessible : rendering and guiding methods for subtitles

Accessibility in immersive media is a relevant research topic, still in its infancy. This article explores the appropriateness of two rendering modes (fixed-positioned and always-visible) and two guiding methods (arrows and auto-positioning) for subtitles in 360º video. All considered conditions have been implemented and integrated in an end-to-end platform (from production to consumption) for their validation and evaluation. A pilot study with end-users has been prepared and conducted with the goals of determining the preferred options by users, the options that results in a higher presence, and of gathering extra valuable feedback from end-users. The obtained results reflect that, for the considered 360º content types, always-visible subtitles are more preferred by viewers and received better results in the presence questionnaire than the fixed-positioned subtitles. Regarding guiding methods, participants preferred arrows over auto-positioning, because arrows were considered more intuitive and easy to follow and reported better results in the presence questionnair

Inmersión del espectador en el reportaje en 360º. Análisis comparativo de “En la piel de un refugiado” y “Fukushima, vidas contaminadas”

El objetivo de este artículo es identificar algunos de los recursos narrativos que se emplean en los reportajes inmersivos en vídeo en 360º para favorecer en el espectador la sensación de encontrarse dentro del acontecimiento narrado. Para ello, realizamos un análisis comparativo de dos proyectos españoles a partir de una metodología mixta basada en análisis de contenido y en entrevistas en profundidad con sus autores. Los reportajes analizados son “En la piel de un refugiado”, publicado en 2016 por El Confidencial, y “Fukushima, vidas contaminadas”, publicado ese mismo año por El País. Aunque algunas técnicas narrativas coinciden, observamos también grandes diferencias en el uso de otros recursos, lo que evidencia el carácter experimental de este tipo de proyecto

El reportaje inmersivo con vídeo en 360º: buenas prácticas para potenciar la ilusión de presencia

Impulsado desde 2015 por la confluencia de una serie de factores tecnológicos, el reportaje inmersivo con vídeo en 360º es hoy una modalidad periodística que ha sido practicada por un amplio número de medios de todo el mundo ante la versatilidad que ofrece para narrar de modo inédito realidades muy diversas. No obstante, se trata de un formato complejo en su realización por cuanto rompe con varias de las reglas del lenguaje audiovisual convencional. A cambio, permite que el espectador experimente la sensación de presencia, de encontrarse en un escenario que -en realidad-está siendo solo representado. Para ello, es necesario tener en cuenta una serie de exigencias y buenas prácticas que hemos tratado de sistematizar en las siguientes páginas a partir de una exhaustiva revisión de la literatura sobre el tema y también de las buenas prácticas ofrecidas por diferentes medios y productoras especializadas en este tipo de contenidos

Análisis del nivel de inmersión de los reportajes en vídeo en 360º producidos por medios periodísticos españoles

El presente trabajo ofrece los resultados de un análisis de contenido sobre el nivel de inmersión en los vídeos en 360º producidos por medios periodísticos españoles. A diferencia de otras maneras convencionales de contar, esta nueva modalidad genera en el espectador la sensación de encontrarse realmente presente en una realidad que está siendo solo representada. Esto favorece una comprensión más profunda y significativa de ella. Nuestro estudio está dividido en tres secciones. En primer lugar, desarrollamos un breve marco teórico en el que recogemos la definición y fundamentos sobre los que se sostiene el periodismo inmersivo en general y el reportaje en vídeo en 360º en particular. A partir de esta fundamentación, proponemos una escala para medir el nivel de inmersión que hace posible este tipo de piezas y la validamos mediante la evaluación cualificada de un grupo de 10 expertos. Finalmente, aplicamos esta escala sobre una muestra de 148 reportajes en vídeo en 360º publicados por medios periodísticos españoles durante el período comprendido entre enero de 2015 y diciembre de 2017. El objetivo es analizar su uso e inferir una serie de buenas prácticas que puedan resultar de utilidad tanto a académicos que investigan este nuevo formato como a los profesionales que lo producen.This paper offers the results of a content analysis on the level of immersion in 360º video features produced by Spanish media. Unlike other conventional ways of storytelling, this new modality provides the viewer with a sensation of being really immerse in a reality that is only being represented, which favors a deeper and more meaningful understanding of it. Our study is divided in three sections. Firstly, we develop a brief theoretical framework that includes the definition and foundations on which immersive feature is based. From this theoretical foundation, we draw a scale to measure the immersion level of these pieces and we confront our proposal to the qualified assessment of 10 experts. Finally we apply this scale on a sample of 148 360º video features produced by Spanish media between January 2015 and December 2017. The aim is to analyze its use and also to infer some good practices that can be useful not only for scholars researching on this new format but also for practitioners producing it

Immersive feature through 360° video in Spanish news media

Este trabajo ofrece los resultados de un análisis de contenido sobre el uso que los medios periodísticos españoles están haciendo del reportaje inmersivo en vídeo en 360º. A diferencia de otras maneras convencionales de contar, esta nueva modalidad genera en el espectador la sensación de encontrarse realmente presente en una realidad que está siendo sólo representada, lo que favorece una comprensión más significativa de ella. El estudio se compone de una muestra de 147 reportajes en vídeo en 360º producidos por 19 medios de comunicación españoles durante el período comprendido entre enero de 2015 y diciembre de 2017. Los resultados confirman un ligero incremento en las publicaciones en el último año analizado y una preferencia por los temas de sociedad. La finalidad predominante de estos reportajes es mostrar los acontecimientos en su contexto. El empleo de las diferentes técnicas inmersivas que contribuyen a generar la sensación de presencia resulta mejorable.This paper offers the results of a content analysis on how Spanish media are using the 360° video feature. Unlike other conventional ways of storytelling, this new modality provides the viewer with a sensation of being really present in a reality that is only being represented, which favors a deeper and more meaningful understanding of it. The study consists of a sample of 147 360° video features produced by 19 Spanish media between January 2015 and December 2017. The results confirm a slight increase in the number of publications in 2017 and a preference for using this format to cover social issues. The main purpose of these features seems to be to show the events in their context. The use of the several techniques to increase the sense of presence is still low

Design considerations for immersive virtual reality applications for older adults: a scoping review

Immersive virtual reality (iVR) has gained considerable attention recently with increasing affordability and accessibility of the hardware. iVR applications for older adults present tremendous potential for diverse interventions and innovations. The iVR literature, however, provides a limited understanding of guiding design considerations and evaluations pertaining to user experience (UX). To address this gap, we present a state-of-the-art scoping review of literature on iVR applications developed for older adults over 65 years. We performed a search in ACM Digital Library, IEEE Xplore, Scopus, and PubMed (1 January 2010–15 December 2019) and found 36 out of 3874 papers met the inclusion criteria. We identified 10 distinct sets of design considerations that guided target users and physical configuration, hardware use, and software design. Most studies carried episodic UX where only 2 captured anticipated UX and 7 measured longitudinal experiences. We discuss the interplay between our findings and future directions to design effective, safe, and engaging iVR applications for older adults