forms of 360°Film staging
BETWEEN FREEDOM AND CONTROL - A FIELD OF TENSION
In 360°film we find ourselves in a field of tension. On one hand, viewers should be given as much freedom as possible to independently explore the image space. On the other hand, in a narrative, it is essential that all the key information that contributes to the understanding of the "story" is conveyed efficiently. All forms of 360°film staging are subject to this dilemma. In cinema (both fictional and documentary), three forms can be distinguished:
STAGING IN ONE LOCATION WITH FIXED CAMERA
The recording is done with a fixed camera on a tripod. The camera remains static and placed in the middle of the view. In this setting, the creative potential lies in setting up and playing with the surrounding situation on location. The desired mood can be achieved by playing with light. The aim is to place light sources so they are not visible in the camera's field of vision or they are deliberately included in the staging. When shooting outdoors, the time of day and weather conditions play a decisive role.
VIDEo EXCERPT FROM «TOURISM SCHWYZ» by CHRISTOPHE MERKLE, PRODUCTION ZEITRAUM FILM GMBH (2016)
Actions can take place at different distances from the camera, in the close up,middle or background. It is possible to create suspense and make actions attractive for the audience with the staged appearance of protagonists or actors according to dramaturgical rules. This can be compared to the possibilities of theatre scenographic staging. Actors can approach the camera, therefore calling more attention. Events that follow a causal relationship can be staged in different directions and distances and oriented to a clearly given timetable.
For documentaries, the approach is to find a suitable on-site camera position where key activities can be observed at different levels and distances. One difficulty with this approach is to control the attention of the viewers during certain time windows (described in the topic of attention control in the post-production chapter). In order to find the most suitable camera location, a comprehensive reconnaissance of the surroundings is necessary. In spontaneous documentary activities, sometimes luck is needed to create an exciting narrative, as there is often little space for design and quick reactions. However, with a basic understanding of 360°film framework conditions, the chances of successful shots are much higher.
Advantages
Simplest and, at least from a technical point of view, a highly controllable form of staging.
Can be realised efficiently and cost-effectively.
Disadvantages
Attractive productions with static camera positions are demanding comparable to a theatre performance. It is possible to bring figures or objects very close to the camera, which in reception means that figures, objects, and events come very close to the viewer. This can create suspense, but might also trigger fear and discomfort.
Precise sequences and actions have to be rehearsed and practised in advance (as in theatre).
There are few rules regarding the ideal proximity and distance to the viewer's field of movement.
Examples
The Real Thing (Arte France, 2018)
Sanctuaries of Silence (go projects, 2018)
Lions 360° (National Geographic, 2017)
2. STAGING WITH a MOVING CAMERA / ONE SHOT (PLAN SEQUENCE)
In this setting, during shooting, the camera is carried in hand or attached to a drone or pole. A stabilisation system is often used for this method. The design potential lies in the scene's layout and planning where the camera follows the action. Attention is decided by proximity or distance; the action prioritisation. In this way, authorship becomes recognisable in a more direct form. This is taken further because the person carrying the camera is usually visible in the picture. Actions are also possible here in different areas such as close-up, middle or background. Compared to a static camera, the camera shifts its position and not the actors.
Advantages
Conveys authenticity allowing the viewers to feel a sense of participation in the events.
Plenty of room for experimentation and potentially attractive narrative forms.
Can be stimulating and cost-effective.
The camera can be moved close to the action and thus influence the focus of attention (authorship).
The camera carrier is visible in the image and, if this is not desired, must be elaborately retouched in post-production.
Disadvantages
Camera movements often appear somewhat restless in real footage. There is an inherent danger that this can be perceived as unpleasant during viewing. Likewise, inaccurate alignment or too severe of camera movements can lead to discomforting physical reactions for the viewer (motion sickness).
Productions are sophisticated because of the 360°playback. It is possible to get very close to the action with the camera, which means that figures, objects and events come very close to the viewer during reception. This can create suspense, but may also trigger fear and discomfort.
Precise procedures and actions should also be tested in advance.
There are few rules regarding the ideal proximity and distance to the viewer's field of movement.
Examples
Home Turf (JauntVR, 2017)
The Gotthard Base Tunnel (SRF Documentary, 2016)
Toyko Light Odyssey (WOW, 2018)
3. STAGING WITH SEVERAL SETTINGS AND DIFFERENT SCENES
As in classic film, a 360°film story can be divided into several scenes. The design potential lies in creating an attractive sequence of scenic spaces that are strung together in a narrative, resulting in a large creative scope. The image or sound can take the lead in the narration. The unique feature about 360°film is that both image and sound elements can be precisely placed in the entire 360°space. An event can take place above, below or even behind the recipient and is not limited by the picture window. In stereoscopic recordings, the image and sound elements can also be displayed at specific distances from the camera. This possibility of precise placement opens up further design possibilities, which must be precise, otherwise it can cause irritation. This is particularly challenging because there are few references available and the viewers can perceive the same material differently.
Advantages
Many design options.
Plenty of room for experimentation and potentially attractive narrative forms.
Scenes can be set up to be physical, resulting in a stimulating experience.
Disadvantages
Movements that are too severe can quickly lead to unpleasant physical reactions on the part of the viewer (motion sickness).
Designing transitions from one scene to another is challenging because each scene must be planned and prepared accordingly. The viewer's attention must be directed and the alignment before and after a cut / transition must be planned according to points of interest if the flow of the story is to be maintained (see Editing in 360° Film). This form of staging is usually attractive, but it is also elaborate and cost-intensive.
Due to 360°exposure, productions are also particularly demanding with regard to protagonist positioning in front of the camera. It is possible for the camera to get close to the action and the environment can change as the protagonists approach the camera. The handling of closeness and intimacy is still a new approach with few reliable conventions. This can create suspense, but may also trigger fear and discomfort. There are also limits from a technical point of view. If the camera gets too close to a protagonist, unnatural distortions occur in the image (due to the stitching). Other technical limitations are due to the lower display resolution.
Precise procedures and actions should be tested in advance.
Video Excerpt from «This is Climate Change» from Danfung Dennis & Eric Strauss (2018)
4. anitmated film – a special case?
If a contribution is realised as an animated film, fundamentally the same rules apply as in a live-action film. It is possible to work towards a single shot with a static camera (planned sequence) just as it is possible to combine different spaces with "cuts." In computer animation, camera movements as well as the setting of light or changes in space can be realised in a planned and predictable way. Building attractive digital models is time-consuming and cost-intensive. Simpler forms of animation such as stopmotion are also possible. The imperfection of the movements also creates its own charm in 360°space and can be met with a surprisingly high level of acceptance by the audience.
Examples
Unterholz (HSLU, BA Animation and SRF, 2018)
La Fuga - L (Adrian Regnier, 2018)
Invasion! (Baobab, 2016)