Viewer’s Role and Viewer Interaction in Cinematic Virtual Reality

Abstract

Cinematic Virtual Reality (CVR) is a form of immersive storytelling widely used to create engaging and enjoyable experiences. However, issues related to the Narrative Paradox and Fear of Missing Out (FOMO) can negatively affect the user experience. In this paper, we review the literature about designing CVR content with the consideration of the viewer’s role in the story, the target scenario, and the level of viewer interaction, all aimed to resolve these issues. Based on our explorations, we propose a “Continuum of Interactivity” to explore appropriate spaces for creating CVR experiences to archive high levels of engagement and immersion. We also discuss two properties to consider when enabling interaction in CVR, the depth of impact and the visibility. We then propose the concept framework Adaptive Playback Control (APC), a machine-mediated narrative system with implicit user interaction and backstage authorial control. We focus on “swivel-chair” 360-degree video CVR with the aim of providing a framework of mediated CVR storytelling with interactivity. We target content creators who develop engaging CVR experiences for education, entertainment, and other applications without requiring professional knowledge in VR and immersive systems design.

Adaptive Playback Control: A Framework for Cinematic VR Creators to Embrace Viewer Interaction

“…This will ensure the narrative arc remains under the control of the director, while the freedom of interaction is placed in the viewers' hands. However, there are various common storytelling methods for different user scenarios, defined by factors including the content, the emotional consequences that the director wants to invoke in the audience, and the type of interaction viewers are going to use (Tong et al, 2021). In order to ensure the exploration will be effective and can yield practical results for APC users (creators and consumers), we set the first constraint, that in this study applicable contents we will apply the APC onto are those which:…”

“…Then we acknowledge that involving viewers in the control of narrative progression is an outstanding topic in interactive storytelling research (Verdugo et al, 2011) on the one hand, moving from traditional screen-based media to immersive media, a shift in the viewer's perspective naturally calls for giving the viewer the freedom of choice and the agency of impacting narrative progression (Tong et al, 2021). On the other hand, researchers have also discovered that for culture-or educationrelated content, a clear structure helps in audience understanding and retention (Lorch et al, 1993).…”

“…Viewer awareness of interaction also has an impact on the user experience of storytelling (Rezk and Haahr, 2020). We know that if the viewer is regarded as a character in the story scene in immersive storytelling, they expect a certain level of interaction to be involved in narrative progression (Tong et al, 2021). A system designed to be responsive to viewer input will also increase the level of viewer involvement and immersion (Ryan, 2008;Roth et al, 2018).…”

Beyond Sight and Sound: The Role of Haptic Technology in Enhancing the Cinematic Virtual Reality Experience

“…CVR is widely defined as an immersive form of storytelling used to create an engaging and enjoyable experience for its audience (Tong et al 2021). It is a new type of filmmaking that allows individual users to immerse themselves in 360-degree synthetic world experiences (Ding et al 2018).…”

“…Tong et al (2021) and Dooley et al (2021) further highlight the different camera positions and viewer positioning within CVR movies that allow the spectator to engage with the movie from different points of view. Tong et al (2021) identify two main camera positions that are: (1) character view, which allows the viewer to witness the storyline from the perspective of a character within the storyline and encourages them to respond to the story events in an affective style and immersive passive view in which the audience is not a part of the storyline but a mere spectator witnessing from a third person point of view. Nicolae (2018) refers to the first positioning as the 'hero' perspective and the second as the 'witness' perspective.…”