Introductory Fulldome Archive
Introductory Fulldome Files
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
Developing a Fulldome Standard: A Historical Perspective for Success PPT
- Jim Costigan & Blair Parkin
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