Successfully reported this slideshow.
We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads. You can change your ad preferences anytime.

Auteurism in 360 Degrees

191 views

Published on

Presented at FITC's Spotlight AR/VR event on Dec 2, 2017
More info at www.fitc.ca

Michelle Cortese
Facebook
Overview

“Film cannot be art, for it does nothing but reproduce reality mechanically.” — Rudolf Arnheim in 1933, opening his book “Film as Art” by quoting criticism from his contemporaries.

By the early-mid 20th century, the artistic merit of film had yet to be fully realized. This mirrors the present state of 360 media and VR filmmaking: we have yet to find artistic equivalents to classical cinematic techniques (framing, montage, transition, zoom, synchresis, etc.) in immersive filmmaking. “Auteurism in 360 Degrees” will unpack methodologies for translating the styles, standards, and practices of 2D filmmaking into 360 media and VR film, all from the perspective of a Facebook Product Designer actively working on 360 media editing and sharing tools.

Objective

To be an inspiration session for creators working in the 360 space or filmmakers looking to take the plunge into immersive media.

Target Audience

Filmmakers looking to understand artistic merit and craft in 360 filmmaking.

Five Things Audience Members Will Learn

Courage in the face of 360/VR filmmaking and content creation.
360’s place in the media expansion continuum (painting > photography > film > 360/VR).
How to be an auteur in 360 degrees.
Methodologies for converting styles, standards, and practices from standard 2D film media into 360 media and VR film.
The debate surrounding 360’s artistic merit and craft echoes critical skepticism faced by the original motion picture.

Published in: Internet
  • Be the first to comment

  • Be the first to like this

Auteurism in 360 Degrees

  1. 1. auteurism in 360 degrees with michelle cortese
  2. 2. Georges Méliès A Trip to The Moon 1902
  3. 3. Rudolf Arnheim Film as Art, 1933 Film cannot be art, for it does nothing but reproduce reality mechanically.
  4. 4. Fritz Lang Metropolis, 1927 Felix Lajeunesse & Paul Raphaël Miyubi, 2017
  5. 5. overview films in which views of all 360 directions are recorded simultaneously Recorded 360 films do not allow viewers to freely explore a 3D space.
  6. 6. Roomscale VR allows you to explore a 3D space. Oculus roomscale setup
  7. 7. watching 360 films may be consumed on a variety of surfaces
  8. 8. Stereoscopic films project two offset recordings. Monoscopic films project a single, duplicated video. watching
  9. 9. making 360 is captured via multi-lens camera rig Or via placing a digital spherical capture object in a 3D rendering Kip Andersen & Keegan Kuhn Parallaxed, 2015 Scot Stafford & Kevin Dart Sonaria, 2017
  10. 10. Giroptic $300 Insta360 Pro $4,000 Nokia Ozo $60,000 Zoom H2N $200 Sennheiser AMBEO VR $2,000 Mantra VR & 360VR Toolbox Adobe plugins $200-300
  11. 11. publishing Interactive Roomscale Narrative VR optimized for quality Linear 360 Video, Mono or Stereo optimized for reach bespoke one-on-one experience at an installation/event consume via pc-teathered headset upload to game app store (oculus experiences store, steam store, etc.) consume via pc-teathered headset consume via standalone headset upload to a distribution platform like facebook or youtube consume via pc-teathered headset consume via standalone headset consume via web/mobile
  12. 12. live-action video mono or stereo mass distribution via 360 camera let’s focus on
  13. 13. Rudolf Arnheim Film as Art, 1933 Film is more than a variation on the immobile image, obtained by multiplication; it is new & different.
  14. 14. Bela Balazs Theory Of The Film, 1948 The basis and possibility of an art of the film is that everyone and everything looks what it is.
  15. 15. Universal Orlando Rip Ride Rockit 2017 360’s unique charm is that no matter the surface it can take you places.
  16. 16. Striving to design better, filmmaker- centric 360 creation tools.
  17. 17. direction motion and human indicators have always been used to guide a viewer’s focus around a space
  18. 18. character gaze character guidance Buster Keaton Sherlock Jr, 1924 1 2 GoPro VR Sand Dune Jumping, 2016
  19. 19. camera By reproducing space from an unusual and striking angle, the artist forces the spectator to take a keener interest. Rudolf Arnheim Film as Art, 1933
  20. 20. oblique camera technique unreal presence Kip Andersen & Keegan Kuhn Parallaxed, 2015 Alfred Hitchcock The Birds, 1963 Alfred Hitchcock The Birds, 1963
  21. 21. transition cuts&lap dissolves portals & teleportation VR Transitions by Mettle, 2017 George Stevens A Place in the Sun, 1951
  22. 22. montage brought nonlinear imagery to film offering an artistic method counter to the supposed objectivity of film
  23. 23. montage as narrative montage as surreal mobility Felix Lajeunesse & Paul Raphaël Miyubi, 2017 Sergei Eisenstein & Grigori Aleksandrov October, 1928
  24. 24. field of view A change in FOV, was often used to denote a change in relationship with subject matter.
  25. 25. the close-up Carl Theodor Dreyer The Passion of Joan of Arc, 1928 the intimate context change General Electric You Can’t Fight Fire with Fire, 2017
  26. 26. sound A synch point is a salient moment of an audio-visual sequence during which a sound event and a visual event meet in synchrony, resulting independently of any rational logic. Michel Chion Audio-Vision, 1994
  27. 27. spatial synchresis General Electric You Can’t Fight Fire with Fire, 2017
  28. 28. TL;DR Don’t be the naysayers from the dawn of cinema.
  29. 29. be bold. thank you

×