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Best Practices & Guidelines for Immersive Cinema, part1
In this first of a two-part paper we describe the critical ways in which the fulldome medium is different from traditional film and what that means for the film-maker. We briefly illustrate the history of pacing in feature Hollywood films, giant screen cinema, and fulldome films; how they have evolved over time; and their consequences for filmmaking. If we accept that full-dome films are a type of immersive cinema in which the audience feels they are experiencing what is shown on screen, then it is possible to create a new theoretical framework of cinematic language and techniques which parallel those in traditional framed film. We outline the key elements of such a system of thinking, and show some examples from films that accommodate this theory. Finally, a dome display gives more directions where visual content can show up; viewers can miss critical on-screen information if they gaze in the wrong direction at the wrong time.
- Neafus, Wyatt, Yu
Best Practices and Guidelines for Immersive Cinema, part 2
In Part II of this paper, we will identify directorial choices about what and how content is shown in order to mitigate this problem.
In both parts of this paper, we use actual sequences from fulldome films as examples for our analyses, and show frames from them to illustrate our points. Although there are many shows and producers that could have been highlighted, we chose films that we could carefully view while researching this paper, and hence represent a small but (we hope) representative fraction of all produced films.
- Neafus, Wyatt, Yu
Domography and High Frame Rate
Pertaining to my research about the future cinema, especially the change of the visual dramaturgy in context of ‘new’ technologies like 3D, full dome, VR, HFR and so on, I will outline the importance of visual narration. Full dome by its nature allows many different viewpoints. For example, it is important to understand how the viewer moves their head during each shot and to know what is achievable. In two full dome studies (Leicester Nov. 2016, Denver Feb. 2017) I was able to consider habituation, feelings/perception, perception of focus, quality and rhythm, also presence and immersion. This paper shows some results of the studies and how HFR can support spatial films in their dramaturgy. Also, I will outline the change of the visual dramaturgy in the dome - how the 'domography' should be made to fascinate the audience. It is important to consider these aspects because we need a qualitative use of the new technologies – not for a ‘cinema of attraction’ (Gunning 1990) but to attract the audience with a cinema of qualitative and attractive narration.
- Maren Kiessling