Attractive Visuality Generation Within the 360˚-VR Video Format as a Technological Trend in Modern Film Production
DOI:
https://doi.org/10.31866/2410-1915.24.2023.287709Keywords:
attractive visuality, film production, immersive cinematograph, film aesthetics, virtual reality, 360˚-VRAbstract
The aim of the article is to study the features of the process of attractive visuality generation within the 360˚-VR video format. Results. A comprehensive consideration of the issue with the use of general scientific and special methods (problem-logical, theoretical-informational, art studies, comparative analysis, the method of analogy, abstraction, induction, and deduction) demonstrates that one of the key trends in modern film production is the creation of a “multinarrative space” (A. G. Iñárritu) VR-immersion of the viewer as a recipient and co-creator of this space, accompanied by the transformation of the film into a visually attractive activity and transformation principles of film aesthetics in the 20th century. Scientific novelty. It is proved that the 360˚-VR video format is a unique audiovisual form that requires a special grammatical, technical and technological base (professional or amateur 360˚ camera, effective tools for creating and editing 360˚video content for the different platforms, Kolor Autopano Video Pro, SIFT algorithm, etc.) thus, brings the use of the immersion principle to a qualitatively new level. Conclusions. Due to this, attractive visuality is becoming possible in the quality of a new aesthetic and perceptual-virtual experience that is being formed under the influence of VR-attractions and modern special effects in the digital cinematograph. It leads to the synthesis between cinematograph and theatre when the transition is occurring from montage sequence to virtual-theatrical play where in consequence of 360˚-VR the action has been developing constantly, and the viewer is in the very centre of the events. Thereby, there are grounds to confirm that, including technological development and measureless creative possibilities in the process of projecting different VR-attractions, it is possible for a viewer’s infinite immersion in the space of a digital film; that, from one side, transforms film language on the modern stage, creating the perspectives of the further branch development, and from another side, it conditions a number of psychological problems and risks connected with the viewers’ reaction on a different level of density of the attractive field of modified film language.
References
Barreda-Ángeles, M., Redondo, R., & Pereda-Baños, A. (2018). Psychophysiological Methods for Quality of Experience Research in Virtual Reality Systems and Applications. IEEE COMSOC MMTC Communications – Frontiers, 13(1), 14–20 [in English].
Beverly, E., Rigot, B., Love, C., & Love, M. (2022). Perspectives of 360-Degree Cinematic Virtual Reality: Interview Study Among Health Care Professionals. JMIR Medical Education, 8(2), Article e32657. https://doi.org/10.2196/32657 [in English].
Boukhris, M., Paljic, A., & Lafon-Pham, D. (2017, November 22–24). 360° versus 3D environments in VR headsets for an exploration task. In Artificial Reality and Telexistence and Eurographics Symposium on Virtual Environments (ICAT-EGVE) [Proceedings of the Conference] (pp. 71–78). Eurographics Association. http://dx.doi.org/10.2312/egve.20171341 [in English].
Busson, A., Paris, T., & Simon, J.-P. (2016). The European audiovisual industry and the digital single market: Trends, issues and policies. Digiworld Economic Journal, 101, 17–40 [in English].
Cameron, J., Gould, G., Ma, A., Chen, A., & Lui, S. (2020). 360 Essentials: A Beginner’s Guide to Immersive Video Storytelling. Ryerson University Library. https://openlibrary-repo.ecampusontario.ca/jspui/bitstream/123456789/901/3/360-Essentials-A-Beginners-Guide-to-Immersive-Video-Storytelling-1622558250_print.pdf [in English].
Chao, F.-Y., Zhang, L., Hamidouche, W., & Deforges, O. (2018). Salgan360: Visual saliency prediction on 360 degree images with generative adversarial networks. In Multimedia Expo Workshops (ICMEW) [Proceedings of the Conference] (pp. 1–4). IEEE. https://doi.org/10.1109/ICMEW.2018.8551543 [in English].
Chopra, L., Chakraborty, S., Mondal, A., & Chakraborty, S. (2021). PARIMA: Viewport adaptive 360-degree video streaming. In WWW ’21 [Proceedings of the Conference] (pp. 2379–2391). Association for Computing Machinery. https://doi.org/10.1145/3442381.3450070 [in English].
Christie, I. (2015). The visible and the invisible: From 'tricks' to 'effects'. Early Popular Visual Culture, 13(2), 106–112. https://doi.org/10.1080/17460654.2015.1036523 [in English].
CNET Highlights. (2021, October 28). WATCH: Facebook Connect 2021 – Livestream [Video]. YouTube. https://www.youtube.com/watch?v=VKPNJ8sOU_M [in English].
Damiani, J., & Southard, D. (2017, October 2). Writing for VR: The Definitive Guideto VR Storytelling. VRScout. http://vrscout.com/news/writing-vr-definitive-guide-vr-storytelling/ [in English].
Davila, G. A. (2017). Virtual Reality Storytelling. Master of Creative Technologies. https://openrepository.aut.ac.nz/bitstream/handle/10292/10984/GuarinDavilaA.pdf?sequence=4&isAllowed=y [in English].
Dredge, S. [@stuartdredge]. (2015, September 24). Facebook joins YouTube in showing 360-degree videos – including Star Wars. The Guardian. https://www.theguardian.com/technology/2015/sep/24/facebook-youtube-360-degree-videos-star-wars [in English].
Eltobgy, O., Arafa, O., & Hefeeda, M. (2020). Mobile streaming of live 360-degree videos. IEEE Transactions on Multimedia, 22(12), 3139–3152. https://doi.org/10.1109/TMM.2020.2973855 [in English].
Fan, C-L., Lo, W-C., Pai, Y-T., & Hsu, C-H. (2019). A survey on 360° video streaming: Acquisition, transmission, and display. ACM Computing Surveys, 52(4), Article 71. https://doi.org/10.1145/3329119 [in English].
Farahzadi, M. (2019). The rise of virtual reality in filmmaking and evolution of storytelling in modern cinema. https://www.academia.edu/37729808/The_rise_of_virtual_reality_in_filmmaking_and_evolution_of_storytelling_in_modern_cinema [in English].
Guo, C., Cui, Y., & Liu, Z. (2019). Optimal multicast of tiled 360 vr video. IEEE Wireless Communications Letters, 8(1), 145–148. https://doi.org/10.1109/LWC.2018.2864151 [in English].
Guo, C., Zhao, L., Cui, Y., Liu, Z., & Ng, D. W. K. (2021). Power-efficient wireless streaming of multi-quality tiled 360 vr video in mimo-ofdma systems. IEEE Transactions on Wireless Communications, 20(8), 5408–5422. https://doi.org/10.1109/TWC.2021.3067803 [in English].
Kong, L. (2021). SIFT feature-based video camera boundary detection algorithm. Complexity, Spec. Iss., Article 5587873. https://doi.org/10.1155/2021/5587873 [in English].
Ku, D. (2015). Parallax Scrolling: To scroll or not to scroll. Umea University [in English].
Langston, J. (2019, February 24). New HoloLens 2 gives Microsoft the edge in the next generation of computing. Microsoft. https://news.microsoft.com/innovation-stories/hololens-2/ [in English].
Lee, D., Yoon, J., & Lim, S. (2017, September 22–24). Image stitching using multiple homographies estimated by segmented regions for different parallaxes. In Vision, Image and Signal Processing (ICVISP) [Proceedings of the Conference] (pp. 71–75). Institute of Electrical and Electronics Engineers. https://doi.org/10.1109/ICVISP.2017.19 [in English].
Lee, K., Guerrero, G., Cha, S., Kim, Y., & Cho, S. (2017, October 23–26). VR Theatre, a Virtual Reality based Multi-Screen Movie Theatre Simulator for Verifying Multi-Screen Content and Environment. In SMPTE 2017 Annual Technical Conference and Exhibition [Proceedings of the Conference] (pp. 1–13). Society of Motion Picture and Television Engineers. https://doi.org/10.5594/M001790 [in English].
Li, J., Han, L., Zhang, C., Li, Q., & Liu, Z. (2022). Spherical Convolution empowered FoV Prediction in 360-degree Video Multicast with Limited FoV Feedback. ACM Transactions on Multimedia Computing, Communications, and Applications, 1–16. https://doi.org/10.48550/arXiv.2201.12525 [in English].
Li, M. (2021). The role of VR/AR technology in film industry. In Cinema as Technology. University of Washington. https://uw.pressbooks.pub/cat2/chapter/12-the-merging-of-vr-ar-films-to-the-cinema-industry/ [in English].
Mateer, J. (2017). Directing for Cinematic Virtual Reality: How the traditional film director’s craft applies to immersive environments and notions of presence. Journal of Media Practice, 18(1), 14–25. https://doi.org/10.1080/14682753.2017.1305838 [in English].
Newton, K., & Soukup, K. (2016, April 6). The Storyteller’s Guide to the Virtual Reality Audience. Medium. https://medium.com/stanford-d-school/the-storyteller-s-guide-to-the-virtual-reality-audience-19e92da57497 [in English].
Park, K., Shim Y.-J., & Lee, M. (2021). Region-Based Static Video Stitching for Reduction of Parallax Distortion. Sensors, 21(12). https://doi.org/10.3390/s21124020 [in English].
Pillai, S. J., & Verma, M. (2019, November 14–16). Grammar of VR Storytelling: Narrative Immersion and Experiential Fidelity in VR Cinema. In Virtual-Reality Continuum and its Applications in Industry [Proceedings of the Conference] (Article 34, pp. 1–6). Association for Computing Machinery. https://doi.org/10.1145/3359997.3365680 [in English].
Rothe, S., Schmidt, A., Montagud, M., Buschek, D., & Hußmann, H. (2020). Social viewing in cinematic virtual reality: A design space for social movie applications. Virtual Reality, 25, 613–630. https://doi.org/10.1007/s10055-020-00472-4 [in English].
Schatz, R., Sackl, A., Timmerer, C., & Gardlo, B. (2017, May 31 – June 2). Towards subjective quality of experience assessment for omnidirectional video streaming. In Quality of Multimedia Experience (QoMEX) [Proceedings of the Conference] (pp. 1–6). IEEE. https://doi.org/10.1109/QoMEX.2017.7965657 [in English].
Serrano, A., Sitzmann, V., Ruiz-Borau, J., Wetzstein, G., Gutierrez, D., & Masia, B. (2017). Movie editing and cognitive event segmentation in virtual reality video. ACM Transactions on Graphics, 36(4), 1–12. https://doi.org/10.1145/3072959.3073668 [in English].
Takacs, B., Vincze, Z., Fassold, H., Karakottas, A., Zioulis, N., Zarpalas, D., & Daras, P. (2019). Hyper 360—Towards a Unified Tool Set Supporting Next Generation VR Film and TV Productions. Journal of Software Engineering and Applications, 12(5), 127–148. https://doi.org/10.4236/jsea.2019.125009 [in English].
Tran, H. T., Ngoc, N. P., Pham, C. T., Jung, Y. J., & Thang, T. C. (2017, October 16–18). A subjective study on QoE of 360 video for VR communication. In Workshop on multimedia signal processing (MMSP) [Proceedings of the Conference] (pp. 1–6). IEEE. https://doi.org/10.1109/MMSP.2017.8122249 [in English].
Verhage, J. (2016, January 13). Goldman Sachs Has Four Charts Showing the Huge Potential in Virtual and Augmented Reality. Bloomberg. https://www.bloomberg.com/news/articles/2016-01-13/goldman-sachs-has-four-charts-showing-the-huge-potential-in-virtual-and-augmented-reality [in English].
Whissel, K. (2015). Parallax Effects: Epistemology, Affect and Digital 3D Cinema. Journal of Visual Culture, 15(2), 233–249. https://doi.org/10.1177/1470412916654512 [in English].
Xiao, F. (2019). Multi-sensor data fusion based on the belief divergence measure of evidences and the belief entropy. Information Fusion, 46, 23–32. https://doi.org/10.1016/j.inffus.2018.04.003 [in English].
Zhang, M., Zhu, Z., & Tian, Y. (2020). Application Research of Virtual Reality Technology in Film and Television Technology. IEEE Access. https://doi.org/10.1109/ACCESS.2020.3022499 [in English].
Downloads
Published
How to Cite
Issue
Section
License
This work is licensed under a Creative Commons Attribution 4.0 International License.
Authors who publish in this journal agree to the following terms:
1) The authors reserve the right to the authorship of their work and transfer to the journal the right to first publish this work under the terms of the Creative Commons Attribution License, which allows others to freely distribute the published work with a mandatory reference to the authors of the original work and the first publication of the work in this journal.
2) The authors have the right to enter into independent additional agreements for non-exclusive distribution of the work in the form in which it was published by this journal (for example, to place the work in the electronic repository of the institution or to publish it as part of a monograph), provided that the reference to the first publication of the work in this journal is maintained.
3) The journal's policy allows and encourages authors to post their manuscripts on the Internet (for example, in institutional repositories or on personal websites) both before submitting the manuscript to the editorial board and during its editorial processing, as this contributes to the emergence of a productive scientific discussion and has a positive effect on the efficiency and dynamics of citation of published work (see The Effect of Open Access).
