AR Cinema: Visual Storytelling and Embodied Experiences with Augmented Reality Filters and Backgrounds

Abstract

Through the simultaneous presence of graphically composed and materially existing elements, augmented reality (AR) offers ephemeral digital content that is the result of the momentary and, thus, unrepeatable alignment of a physical body and world and an augmented reality system. Capturing the performative and embodied angles of screen-based augmented reality through a combined film-analytical and cognitive lens, this paper focuses on how interfaces, content, and ARmanipulated bodies serve as apparatus for cinematic composition as well as storytelling and user engagement. Observing interactions with AR filters and backgrounds, we reflect on how users' bodies and expressions that are mirrored on screen are translated into an immersive digital storyworld that exists in the temporal and spatial context of the AR experience and the related technology. AR filters and backgrounds' affective quality, thus, lies in bodily control and in the creative act of choosing and moderating body characteristics, postures, and positions in real-time in relation to the surrounding digitally manipulated or recorded environment. By moderating the representations of bodies and spaces as well as their interplay, AR users actively shape the visual composition of the on-screen space and, thereby, the visual narrative.

VILBAR (Virtual Laboratory Based Augmented Reality) sebagai Media Praktikum Kimia di Universitas Muslim Maros

“…Pengenalan objek yang digunakan untuk menampilkan berbagai informasi mengenai objek tersebut. AR sebagai sebuah sistem kognitif dan mampu memahami secara utuh persepsi dari pengguna (Abbas et al, 2020;O'Meara & Szita, 2021).…”

Do Object Affordances Modulate the Sense of Embodiment in Virtual Human--Tool Interaction? Reflection for the Interactive Artificial Environment

“…This technology consists of video recordings shot using omnidirectional cameras or a collection of synchronized cameras with overlapped field of view that allows users to see the environment all around them. Moreover, through the headmounted display, it is possible to reproduce the real environment in a second time and generate an immersive experience for participants (Huang et al, 2017;Repetto et al, 2018;Ventura, Miragall, et al, 2022;O'Meara, 2021). The missing feature that prevents the 360-degree video from being completely VR is the interaction with the virtual environment; that is, users are only passive observers of the virtual experience, but they cannot interact with it (Boeck et al, 2006).…”