The Scale of Immersion: Different audio-visual experiences exemplified by the 360° video  Secret Detours

Since the use of video became popular in the last five decades, the quality of the recorded images improved constantly, while broadcasting techniques thus advanced concurrently. From Omnimax to mobile screens, if panoramic, vertical or spherical, the author of the work is challenged to either fight for the intended format or adjust the work accordingly to presentation possibilities. Our recent Secret Detours may serve as an example, which was conceived as an immersive 360° video. Currently, we have developed a range of different versions in order to explore screening possibilities and adjusted not only the visual composition but as well the sound-design appropriately. We argue that the experience hugely varies, whether the work can be collectively viewed in a hemispherical dome, a cylindrical panorama, a panoramic LED video wall or by using VR glasses.

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Author and article information

Contributors

Elke Reinhuber

Ross Williams

Benjamin Seide

Conference

Publication date: July 2018

Publication date (Print): July 2018

Pages: 236-243

Affiliations

[0001]School of Art, Design and Media

Nanyang Technological University 81 Nanyang Drive #04-17

Singapore 637458

[0002]School of Art, Design and Media

Nanyang Technological University 81 Nanyang Drive #04-08

Singapore 637458

[0003]School of Art, Design and Media

Nanyang Technological University 81 Nanyang Drive #03-

Singapore 637458

Article

DOI: 10.14236/ewic/EVA2018.45

SO-VID: 83612a33-c892-43bf-be1e-2f62bb52ca31

Copyright statement: © Reinhuber et al. Published by BCS Learning and Development Ltd. Proceedings of EVA London 2018, UK

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This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: Electronic Visualisation and the Arts

Conference acronym: EVA

Conference number:

Conference location: London, UK

Conference date: 9 - 13 July 2018

Conference sponsor: Electronic Workshops in Computing (eWiC)

Conference theme: Electronic Visualisation and the Arts

Product

Product Information: 1477-9358BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVA2018.45

Self URI (journal page): https://ewic.bcs.org/

REFERENCES

J. Blake 2017 Second Screen interaction in the cinema: Experimenting with transmedia narratives and commercialising user participation Participations 14(2):526 544
S. E. Chen 1995 QuickTime VR: an image-based approach to virtual environment navigation S. G. MairR. Cook (eds.) Proceedings of the 22nd annual conference on Computer graphics and interactive techniques (SIGGRAPH ’95) ACM, New York, NY, USA 29 38
M. Chion 1994 Audio Vision: Sound on Screen Columbia University Press New York
T. A. GarnerM. Grimshaw 2014 Sonic Virtuality: Understanding audio in a virtual world M. Grimshaw (ed.) The Oxford Handbook of Virtuality Oxford University Press New York 364 377
M. McGinityJ. ShawV. Kuchelmeister et al. 2007 AVIE: A Versatile Multi-User Stereo 360° Interactive VR Theatre http://icinema.edu.au/assets/190/avie.EDT2007.11.pdf (retrieved 26 March 2018 )
K. PookongC. Kwai Keong 2013 A Pictorial History of Nantah Times Media for the Chinese Heritage Centre Singapore
E. Reinhuber 2014 Decidophobia – an Artistic Research on the Possibilities of Immersive Environments Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes, [S.l.], 12(2):206 229
J. Skoller 2005 Shadows, Specters, Shards: Making History in Avant-Garde Film University of Minnesota Press Minneapolis
D. Stanovsky 2004 Virtual Reality L. Floridi (ed.) The Blackwell Guide to the Philosophy of Computing and Information Blackwell Publishing. (Blackwell Philosophy Guide, Vol.14), Oxford 167 177
R. Williams 2016 Real and Rendered: Immersive Soundscapes and Experience in Virtual Systems 22nd International Conference on Virtual Systems & Multimedia (VSMM 2016) Kuala Lumpur, Malaysia 17–21 October. In press, Leonardo
B. Winters 2010 The Non-Diegetic Fallacy: Film, Music and Narrative Space Music and Letters 91(2):224 244

Comments

Comment on this article

[1] J. Blake 2017 Second Screen interaction in the cinema: Experimenting with transmedia narratives and commercialising user participation Participations 14(2):526 544

[2] S. E. Chen 1995 QuickTime VR: an image-based approach to virtual environment navigation S. G. MairR. Cook (eds.) Proceedings of the 22nd annual conference on Computer graphics and interactive techniques (SIGGRAPH ’95) ACM, New York, NY, USA 29 38

[3] M. Chion 1994 Audio Vision: Sound on Screen Columbia University Press New York

[4] T. A. GarnerM. Grimshaw 2014 Sonic Virtuality: Understanding audio in a virtual world M. Grimshaw (ed.) The Oxford Handbook of Virtuality Oxford University Press New York 364 377

[5] M. McGinityJ. ShawV. Kuchelmeister et al. 2007 AVIE: A Versatile Multi-User Stereo 360° Interactive VR Theatre http://icinema.edu.au/assets/190/avie.EDT2007.11.pdf (retrieved 26 March 2018 )

[6] K. PookongC. Kwai Keong 2013 A Pictorial History of Nantah Times Media for the Chinese Heritage Centre Singapore

[7] E. Reinhuber 2014 Decidophobia – an Artistic Research on the Possibilities of Immersive Environments Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes, [S.l.], 12(2):206 229

[8] J. Skoller 2005 Shadows, Specters, Shards: Making History in Avant-Garde Film University of Minnesota Press Minneapolis

[9] D. Stanovsky 2004 Virtual Reality L. Floridi (ed.) The Blackwell Guide to the Philosophy of Computing and Information Blackwell Publishing. (Blackwell Philosophy Guide, Vol.14), Oxford 167 177

[10] R. Williams 2016 Real and Rendered: Immersive Soundscapes and Experience in Virtual Systems 22nd International Conference on Virtual Systems & Multimedia (VSMM 2016) Kuala Lumpur, Malaysia 17–21 October. In press, Leonardo

[11] B. Winters 2010 The Non-Diegetic Fallacy: Film, Music and Narrative Space Music and Letters 91(2):224 244

The Scale of Immersion: Different audio-visual experiences exemplified by the 360° video Secret Detours