VR and the death of the frame: Filmmaking in an age of immersive technology

TY - CONF

T1 - VR and the death of the frame

T2 - 46th International Conference on Computer Applications and Quantitative Methods in Archaeology (CAA)

AU - Baxter, Kieran

N1 - Conference code: 46

PY - 2018/3/19

Y1 - 2018/3/19

N2 - New norms of immersion and interaction afforded by recent develops in head-mounted display technology appear to be - and have certainly been promised to be - a paradigm shifting development in new media. Against a background of 360° and 3D capture technologies, which give the end user retrospective control of the angle of viewing, the visual language of traditional filmmaking has been fundamentally disrupted. This paper expands upon the relationship between video and virtual reality (VR) in the context of heritage interpretation. It explores the continuity between the two, but also the disparate conventions and traditions that the two media draw upon. If we acknowledging that no medium is transparent then we must also consider how the practitioner’s decision-making affects the creation of media content and its meaning. While in VR these decisions are more likely to define the ways in which the audience can interact with content, in video the composition of the frame plays a significant role in channeling the audience’s attention in a predetermined way. The frame is an integral component of photography and filmmaking. The continued relevance of such filmic conventions in a time of technological upheaval is a key question here. It is suggested that both filmmaking and VR continue to offer unique and powerful tools for documentary storytelling in heritage interpretation, and that understanding the strengths of each will be important if we are to develop a well considered visual toolkit that goes beyond the technological hype.

AB - New norms of immersion and interaction afforded by recent develops in head-mounted display technology appear to be - and have certainly been promised to be - a paradigm shifting development in new media. Against a background of 360° and 3D capture technologies, which give the end user retrospective control of the angle of viewing, the visual language of traditional filmmaking has been fundamentally disrupted. This paper expands upon the relationship between video and virtual reality (VR) in the context of heritage interpretation. It explores the continuity between the two, but also the disparate conventions and traditions that the two media draw upon. If we acknowledging that no medium is transparent then we must also consider how the practitioner’s decision-making affects the creation of media content and its meaning. While in VR these decisions are more likely to define the ways in which the audience can interact with content, in video the composition of the frame plays a significant role in channeling the audience’s attention in a predetermined way. The frame is an integral component of photography and filmmaking. The continued relevance of such filmic conventions in a time of technological upheaval is a key question here. It is suggested that both filmmaking and VR continue to offer unique and powerful tools for documentary storytelling in heritage interpretation, and that understanding the strengths of each will be important if we are to develop a well considered visual toolkit that goes beyond the technological hype.

UR - https://www.youtube.com/watch?v=mWxELA7Yxro

M3 - Paper

Y2 - 19 March 2018 through 23 March 2018

ER -