Virtual Reality Film Development: Immersive, Cinematographic, and Duration

Trimalda Nur Fitriati; Dea Wemona Rahma; Reza Ramadani Firman; Aisyah Cahyani

doi:10.52661/j_ict.v5i1.160

Authors

Trimalda Nur Fitriati Telkom University Jakarta
Dea Wemona Rahma Telkom University Jakarta
Reza Ramadani Firman Telkom University Jakarta
Aisyah Cahyani

DOI:

https://doi.org/10.52661/j_ict.v5i1.160

Keywords:

cinematographic, duration, effective, immersive, virtual reality film

Abstract

The film industry is growing rapidly. Nowadays, there are movies with 360 video format or also called virtual reality movies. This type of film provides a new experience for the audience because it can provide a sense of immersion. Immersion is the emotional feeling of being “in” in an experience. An immersive experience makes the audience feel as if they are involved in the story or image that is being displayed. It's no longer just watching it. Unfortunately, immersion in VR films also has a weakness, which can cause the audience to lose focus on the storyline. Using VR media for too long can cause health problems. Therefore, this study aims to determine the immersive experience, duration, and cinematographic aspects that are effectively applied to VR films. The point is that the story shown can be conveyed properly to the audience, and the audience feels comfortable. The method used in this research is a qualitative method with a literature study approach. There are 8 articles used as references in this study. The findings from this study are that the immersion of VR films can be increased by using the right media, namely HMD. 20 minutes is the maximum duration for viewers to enjoy VR films without worrying about health risks. The focus of the audience can be directed by cinematographic aspects such as composition, light, point of view, and continuity

References

E. C. K. Wibowo and B. Grahita, “Analisis Technical Immersion pada Film Animasi Berbasis Virtual Reality ‘Crow The Legend’.,” ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia, vol. 09, no. 01, pp. 29–44, Mar. 2023.
[2] F. Tian, R. Hu, S. Dai, and Z. Zhang, “Evaluation of VR Movies on Rhythm, Montage and Saliency,” ICALIP, pp. 292–297, Apr. 2018.
[3] K. rahimi Moghadam and E. D. Ragan, “Towards Understanding Scene Transition Techniques in Immersive 360 Movies and Cinematic Experiences,” IEEE Virtual Reality, pp. 18–22, Mar. 2017.
[4] J. Zhao and X. Zhao, “Computer-Aided Graphic Design for Virtual Reality-Oriented 3D Animation Scenes,” Comput Aided Des Appl, vol. 19, no. S5, pp. 65–76, 2022.
[5] handi Oktavianus, “Penerimaan Penonton Terhadap Praktek Eksorsis di dalam Film Conjuring,” Jurnal E-Komunikasi, vol. 3, no. 2, pp. 2–12, 2015.
[6] A. Jank, F. Kozich, F. Frohlich, and K. Erenli, “VR fact Sheet 2019-An Overview of VR Movies & Games,” IEEE Games, 2019.
[7] H.-F. Hsieh and S. E. Shannon, “Three Approaches to Qualitative Content Analysis,” Qual Health Res, vol. 15, no. 9, pp. 1277–1288, Nov. 2005.
[8] M. Zhang, Z. Zhu, and Y. Tian, “Application Research of Virtual Reality Technology in Film and Television Technology,” IEEE Access, pp. 1–1, Sep. 2020, doi: 10.1109/access.2020.3022499.
[9] S. Yan, W. Jiang, M. Xiong, and X. Shen, “An Exploratory Study for Designing Social Experience of Watching VR Movies Based on Audience’s Voice Comments,” in Adjunct Proceedings of the 2020 IEEE International Symposium on Mixed and Augmented Reality, ISMAR-Adjunct 2020, Institute of Electrical and Electronics Engineers Inc., Nov. 2020, pp. 147–152. doi: 10.1109/ISMAR-Adjunct51615.2020.00049.
[10] A. Kim, M. Chang, Y. Choi, S. Jeon, and K. Lee, “The Effect of Immersion on Emotional Responses to Film Viewing in a Virtual Environment,” in IEEE Conference on Virtual Reality and 3D User Interfaces, Reutlingen: IEEE, Mar. 2018, pp. 601–602.
[11] O. M. Zarka and Z. J. Shah, “Virtual Reality Cinema: A Study,” IJRAR- International Journal of Research and Analytical Reviews, vol. 3, no. 2, pp. 62–66, May 2016.