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.

1. auteurism in 360
degrees
with michelle cortese

4. Georges Méliès
A Trip to The Moon
1902

5. Rudolf Arnheim
Film as Art, 1933
Film cannot be art,
for it does nothing
but reproduce reality
mechanically.

6. Fritz Lang
Metropolis, 1927
Felix Lajeunesse
& Paul Raphaël
Miyubi, 2017

7. 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.

8. Roomscale
VR allows you
to explore a
3D space.
Oculus roomscale setup

9. watching
360 films may be
consumed on a variety
of surfaces

10. Stereoscopic
films project
two offset
recordings.
Monoscopic
films project
a single,
duplicated
video.
watching

11. 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

12. 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

13. 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

14. live-action video
mono or stereo
mass distribution
via 360 camera
let’s focus on

15. Rudolf Arnheim
Film as Art, 1933
Film is more than
a variation on the
immobile image,
obtained by
multiplication; it is
new & different.

16. 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.

17. Universal Orlando
Rip Ride Rockit
2017
360’s unique charm is that
no matter the surface
it can take you places.

18. Striving to
design better,
filmmaker-
centric 360
creation tools.

19. direction
motion and human indicators have
always been used to guide a viewer’s
focus around a space

20. character
gaze
character
guidance
Buster Keaton
Sherlock Jr, 1924
1 2
GoPro VR
Sand Dune Jumping, 2016

21. 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

22. oblique
camera
technique
unreal
presence Kip Andersen & Keegan Kuhn
Parallaxed, 2015
Alfred Hitchcock
The Birds, 1963
Alfred Hitchcock
The Birds, 1963

23. transition
cuts&lap
dissolves
portals &
teleportation
VR Transitions by
Mettle, 2017
George Stevens
A Place in the Sun, 1951

24. montage
brought nonlinear imagery to film
offering an artistic method counter to the
supposed objectivity of film

25. montage as
narrative
montage as surreal mobility
Felix Lajeunesse & Paul Raphaël
Miyubi, 2017
Sergei Eisenstein & Grigori Aleksandrov
October, 1928

26. field of
view
A change
in FOV, was
often used
to denote a
change in
relationship
with subject
matter.

27. 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

28. 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

29. spatial
synchresis
General Electric
You Can’t Fight Fire with Fire, 2017

30. TL;DR
Don’t be the
naysayers
from the dawn
of cinema.

31. be
bold.
thank you