dc.contributor.author | O Fearghail, Colm | |
dc.contributor.author | Oczinar, Cagri | |
dc.contributor.author | Knorr, Sebastian | |
dc.contributor.author | Smolic, Aljosa | |
dc.date.accessioned | 2019-11-14T10:17:22Z | |
dc.date.available | 2019-11-14T10:17:22Z | |
dc.date.issued | 2018 | |
dc.date.submitted | 2018 | en |
dc.identifier.citation | O Fearghail, C., Oczinar, C., Knorr, S. & Smolic, A., Director's Cut - Analysis of VR Film Cuts for Interactive Storytelling, International Conference on 3D Immersion (IC3D) 2018, Brussels, Belgium, 2018. | en |
dc.identifier.other | Y | |
dc.description.abstract | The usage of film cuts, or transitions, is a powerful technique in interactive storytelling to express the film story by
leading the viewers attention. To explore how existing transition techniques are currently being used by professional 360◦
filmmakers, this paper investigates the impact of transitions
and additional graphical elements from a storytelling perspective. We base this on the recently published Director’s Cut
dataset [1] which contains professional 360◦ films with the
directors’ intending viewing direction (i.e., director’s cut) and
test subjects’ scan-paths. Our objective is to examine widely
used transition techniques in professional 360◦ film, and with
our finding guide filmmakers in the storytelling and editing
process. To the authors knowledge, this is the first study to
analyze professionally prepared VR film cuts concerning the
distance of viewers’ scan-paths and director’s cut. We observed that the intended viewing direction is required for the
viewer to understand the story best and not miss the director’s
plot points. The transition is a point where the viewers are
presented with a new scene and are required to orientate themselves within it. Thus if there is a considerable distance mismatch between the intended and actual viewing, the viewer
is not in the best position to understand the scene properly.
Our results show that the use of simple graphics can serve as
a reference for viewers as the transition happens and they are
presented with a new immersive environment. | en |
dc.description.sponsorship | SFI | en |
dc.language.iso | en | en |
dc.rights | Y | en |
dc.subject | 360 film | en |
dc.subject | 360 video | en |
dc.subject | Storytelling | en |
dc.subject | Director's cut | en |
dc.subject | Virtual reality | en |
dc.subject | Transitions | en |
dc.title | Director's Cut - Analysis of VR Film Cuts for Interactive Storytelling | en |
dc.title.alternative | International Conference on 3D Immersion (IC3D) 2018, Brussels, Belgium, 2018. | en |
dc.type | Conference Paper | en |
dc.type.supercollection | scholarly_publications | en |
dc.type.supercollection | refereed_publications | en |
dc.identifier.peoplefinderurl | http://people.tcd.ie/smolica | |
dc.identifier.rssinternalid | 198991 | |
dc.rights.ecaccessrights | openAccess | |
dc.subject.TCDTheme | Creative Technologies | en |
dc.subject.TCDTag | Multimedia & Creativity | en |
dc.identifier.rssuri | https://v-sense.scss.tcd.ie/wp-content/uploads/2018/12/2018_IC3D_DirectorCut_AttentionStoryTelling.pdf | |
dc.status.accessible | N | en |
dc.contributor.sponsor | Science Foundation Ireland (SFI) | en |
dc.contributor.sponsorGrantNumber | 15/RP/2776 | en |
dc.identifier.uri | https://v-sense.scss.tcd.ie/research/3dof/directors-cut-analysis-of-vr-film-cuts-for-interactive-storytelling/ | |
dc.identifier.uri | http://hdl.handle.net/2262/90495 | |