Cinematic virtual reality film practice: expanded profilmic event and mode of production

Abstract

This research investigates the film practice of cinematic virtual reality (CVR), the adoption of virtual reality (VR) technology in filmmaking. With the rapid development of CVR, there are some new film practices formed and shared by filmmakers, as well as a growing amount of academic research studying on its on-screen aesthetics, attempting to theorise screen grammar to navigate audience attention responding to the designed storyline, as well as how to enhance their immersive experience with a sense of presence. However, there are few academic studies that focus on the film practice of CVR production which has fundamental differences compared to conventional filmmaking.

In filmmaking as a collective work, every department collaboratively takes different responsibilities to create the filmic space (cinema space) as well as the production space including the profilmic event, the space that serves the camera frame on film sets. In conventional film production, every creative and producing decision is driven by the directional camera which captures rectangular frames. Imagery expansion from widescreen CinemaScope to frameless CVR has fundamental changes in all kinds of work in a film production, from screenwriting to directing to cinematography. This research investigates how the spherical filmic space and the expanded profilmic event redefine the routine on-location film practices and the spatial arrangement on CVR film sets.

While the long-established conventional film practices can merely be directly adapted to the expanded profilmic event on CVR film sets, the job responsibilities of CVR major creative roles are no longer the same as conventional roles. What the immersive technology innovates in filmmaking is neither only the aesthetics nor merely a technological transformation of film practice. It redefines the occupational role of creative members. This research investigates the job tasks and responsibilities of three major creative roles - director, screenwriter and cinematographer, and examines the occupational changes of these roles.

In the process of adapting new skills and techniques to CVR filmmaking, similarities are found between CVR and the long-established theatre. This research attempts to align CVR and theatre for a parallel comparison to examine the application of theatre production to CVR productions. This research aims to achieve industrial reflexivity in the CVR filmmaking process, contributing to film production studies by theorising how newly developed technology has led to new film practices and a distinct mode of production.