{"id":10931,"date":"2019-04-13T18:04:08","date_gmt":"2019-04-13T17:04:08","guid":{"rendered":"http:\/\/www.keris-studio.fr\/blog\/?p=10931"},"modified":"2021-01-24T11:09:37","modified_gmt":"2021-01-24T10:09:37","slug":"narrative-grammar-in-360-for-production-design-and-filming","status":"publish","type":"post","link":"https:\/\/www.keris-studio.fr\/blog\/?p=10931","title":{"rendered":"Narrative grammar in 360\u00b0 for production design and filming"},"content":{"rendered":"

Fly me to the moon<\/p>\n

Narrative grammar in 360\u00b0 for production design and filming<\/p>\n

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Mediation in 3D environments poses, at first, the question of what system to use to present the information. A generic mechanism is certainly possible, but more and more specific devices are being developed, taking account of how content and form should be articulated, and that well beyond basic scenographic considerations.<\/p>\n

Among these mechanisms, immersive systems offer the most stimulating environments. They allow the spectator to experience real life sensations\u2019. Hence, several narrative challenges come into play: choosing temporality, managing gaps in knowledge, inserting live scenes, as well as defining and staging atmosphere.<\/p>\n

Experiences to date have revealed that the resolution of narrative issues in immersive mechanisms isn\u2019t achieved through the well-trodden paths of classic visual or filmmaking grammar. A new grammar must therefore be identified for a 360\u00b0 immersive narrative. Extrapolating from a concrete model linked to real environments currently under development and a corpus of references ranging from panoramas to digital tools, we describe the components of this 360\u00b0 narrative\u2019s grammar, which pushes representation in visual arts well beyond visual description and questions the relations between the narratives that have been devised and their visual transcription.<\/p>\n

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In twenty years\u2019 time, computer graphic techniques have extended from academic and specialized business sectors to the general public, thus expanding to include the creative, recreational and cultural industries. The arrival of the Digital Natives, the generation born in the 21st century, brings forth a new dimension, aligning the availability of tools, their every-increasing user-friendliness, and the massification of their distribution along with growing acceptance by preceding generations. However, technical development brought about by instrumental improvements should not be confused with the renewal of patterns involved in the representation and communication of knowledge. Assuming that new technologies have superseded the pertinence of former archetypes, we must henceforth be particularly attentive to new ones being established; yet if we are conversely in a sort of reformulation, our role is then also to track continuities which run from anterior preoccupations to their current forms of expression.<\/p>\n

For instance, three-dimensional representation has opened numerous novel possibilities for figuration and mediation. Whereas figuration has hardly strayed from monofocal conventions, mediation ventures hand-in-hand with digital tools into the realms of immersion and the possibility of transporting a spectator into an existing, reconstituted, or imaginary temporal and spatial elsewhere. Immersion, much like mediation in visual arts, could be misconstrued as a sophisticated trick, while it should instead pave the way, both for the researcher and the public, to a phenomenological apprehension of the presented sites, an immersion into a specific context allowing one to approach, for want of being able to fully grasp, the complex interactions between an anthropic production, a space which is sometimes redesigned to enhance comprehension, and the corresponding percepts.<\/p>\n

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Nowadays, immersion is often considered as tantamount to a virtual reality in which the spectators experience an elsewhere in real time and with the possibility of influencing it with their own actions. Yet, this quick, easy to grasp definition shuns subtleties that need to be clarified. Images are commonly understood as frozen moments describing a unity of place, a unity of time and a unity of action. This habit causes us to interpret images presented to us through this perceptional filter. In this instance, the use of immersion and a 360\u00b0 viewpoint as an unguided exploration dynamic reintroduces connections and restores the given context, enabling one to read the time that exists between two figures. One might, however, wonder where the spectator\u2019s imagination comes into play. In fact, imagination is outside the frame, in the off-camera areas, accompanying what is seen inside the frame. In a 360\u00b0 narrative, nothing escapes the eyes and in that respect one may be tempted to believe that this shuts out the spectator\u2019s imagination, that everything is predefined. Yet, what is within one\u2019s field of vision and what isn\u2019t is pieced together by the space, through masked areas, the obscurity that engulfs unfathomable depths, and the distance which sends the imagination beyond the very boundaries of what is visible.<\/p>\n

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