Media Aesthetics For Fulldome Filmmaking

Media Aesthetics for Fulldome
Filmmaking∗
Ka Chun Yu
Denver Museum of Nature & Science
2001 Colorado Blvd.
Denver, CO 80205
Immersive Cinema Workshop: March 26, 2008
∗
With thanks to Isabella Buczek (Hamburg Planetarium)
(DMNS) 1/1
Perceptual Processes
We react in predictable ways to how a message is perceived; useful for

directing viewer attention.
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Popular optical illusions
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Simultaneous contrast
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Horizons
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Horizons
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Perceptual Problems
More Perceptual Examples
Attached shadows
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Perceptual Problems
Attached shadows
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Perceptual Problems
Attached shadows
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Perceptual Problems
Attached shadows
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Perceptual Problems

Brightness perception
(DMNS) 4/1
Perceptual Problems
Stable Mass at the Bottom of the Frame
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Perceptual Problems
Unstable Mass at the Top of the Frame
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Perceptual Problems
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Perceptual Problems
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Perceptual Problems
Asymmetry of the Frame
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Perceptual Problems
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Perceptual Problems
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Perceptual Problems
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Perceptual Problems
Screen Left/Right Asymmetry
(DMNS) 9/1
Perceptual Problems
Screen Left/Right Asymmetry
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Filmmaking Tips
Focusing Attention with Vanishing Points
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Filmmaking Tips
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Filmmaking Tips
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Filmmaking Tips
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Filmmaking Tips
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Filmmaking Tips
Focusing Attention with Framing
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Filmmaking Tips
Focusing Attention with Framing
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Filmmaking Tips
Focusing Attention with Mise en Scène
Also see Bordwell 2005, Figures Traced in Light: On Cinematic Staging.
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Focusing Attention in a Dome
How Do You Direct Attention in a Dome?
... assuming a 25◦ tilted theater

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How Do You Direct Attention in an Immersive Display?
Use “natural” viewing directions for default.

Do audiences look to the side? (Pausch et al. 1996: No!!!)
(DMNS) 17 / 1

“Frame-less” medium framed by limits of binocular field-of-view (Kalawsky
1993).
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1993).
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1993).
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1993).
Shot duration limited by need to convey information from frame to audience.
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1993).
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1993).
More traditional montage possible!
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Directing the Viewer’s Attention: Black Holes
(DMNS) 18 / 1
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Contrast & Affinity and Story Intensity
Contrasts
Use contrasting elements to increase visual intensity, interest
(DMNS) 19 / 1
Affinity
Similar visual elements to decrease visual intensity/dynamic
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Affinity and Contrast in Movements

Similar ...
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Similar ...
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Similar ...
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Similar ...
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Similar ...
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Similar ...
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Similar ...
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Similar ...
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Similar ...
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Similar ...
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... Different
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... Different
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... Different
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... Different
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... Different
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... Different
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... Different
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... Different
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... Different
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... Different
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Story Intensity
Can build up with contrasts in:

Actors: dialogue
Forms: mise en scène, composition
Color, luminance: production design, cinematography
Editing: shot lengths, pace of cutting
Motion: camera movement, montage
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Story Intensity
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Raiders of the Lost Ark (from Block 2001)
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Black Holes: The Other Side of Infinity
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Future Research
Affective Response in Video
Some previous work:
Motion (Detenber, Simons, & Bennett 1998; Simons et al. 2000,

2003; Ravaja 2004)
Editing (Hanjalic 2003; Hanjalic & Xu 2005)
Color (Detenber, Simons, & Reiss 2000)
Audio (Neuman, Crigier, & Bove 1991; Västfjäll 2002, 2003)
Image quality (Duh et al. 2002, Bracken 2005)
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Future Research
Three Dimensions of Emotions

Valence: positive vs. negative feelings
Arousal: calm vs. excited
Control: dominance, in-control vs. out-of-control
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Future Research
Three Dimensions of Emotions

Valence: positive vs. negative feelings
Arousal: calm vs. excited
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Future Research
Previous affective response studies
Lang, Dhillon, & Dong 1995

Arousing messages remembered better than calm messages
Positive messages remembered better than negative messages
Lang, Newhagen, & Reeves 1996
Negative messages:
increases attention
increases capacity to process
facilitates recognition of info presented in video
inhibits info presented before video
increases negative impact of story
(DMNS) 29 / 1
Future Research
Hanjalic & Xu 2001: (computational response)
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Future Research
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Future Research
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Future Research
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Future Research
Fulldome Research
Studies on cognitive effects done or in progress:

Hatada et al. 1980
Sumners & Reiff 2002
Sahami et al. 2008 (in prep.)
First affective study:
Maya Skies show at Chabot Space & Science Center
(DMNS) 31 / 1
Future Research
Fulldome Research
Studies on cognitive effects done or in progress:

Hatada et al. 1980
Sumners & Reiff 2002
Sahami et al. 2008 (in prep.)
First affective study:
Maya Skies show at Chabot Space & Science Center
Future affective work:
What is most effective for learning, retention, viewer interest and
engagement?
How does the immersive display environment help/hinder?
What are the specific media aesthetics that apply to this medium?
(DMNS) 31 / 1
Future Research
Further Reading
Rudolf Arnheim, 1974, Art and Visual Perception

Bruce Block, 2001, The Visual Story: Seeing the Structure of Film,
TV, and New Media
David Bordwell, 2005, Figures Traced in Light: On Cinematic Staging
David Bordwell & Kristin Thompson, 2001, Film Art: An
Introduction, 6th edition
Louis Giannetti, 2005, Understanding Movies, 10th edition
Alan Hanjalic, March 2006, “Extracting Moods from Pictures and
Sounds”, IEEE Signal Processing Magazine, pp. 90–100.
Margaret Livingstone, 2002, Vision and Art: The Biology of Seeing
Robert Solso, 1994, Cognition and the Visual Arts
Herbert Zettl, 1999, Sight, Sound, Motion: Applied Media Aesthetics,
3rd edition
(DMNS) 32 / 1

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Media Aesthetics for Fulldome

Immersive Cinema Workshop: March 26, 2008

We react in predictable ways to how a message is perceived; useful for

More Perceptual Examples

More Perceptual Examples

More Perceptual Examples

More Perceptual Examples

More Perceptual Examples

Stable Mass at the Bottom of the Frame

Unstable Mass at the Top of the Frame

Asymmetry of the Frame

Asymmetry of the Frame

Asymmetry of the Frame

Asymmetry of the Frame

Screen Left/Right Asymmetry

Screen Left/Right Asymmetry

Focusing Attention with Vanishing Points

Focusing Attention with Vanishing Points

Focusing Attention with Vanishing Points

Focusing Attention with Vanishing Points

Focusing Attention with Vanishing Points

Focusing Attention with Framing

Focusing Attention with Framing

Focusing Attention with Mise en Scène

Also see Bordwell 2005, Figures Traced in Light: On Cinematic Staging.

How Do You Direct Attention in a Dome?

... assuming a 25◦ tilted theater

How Do You Direct Attention in an Immersive Display?

Use “natural” viewing directions for default.

How Do You Direct Attention in an Immersive Display?

Use “natural” viewing directions for default.

How Do You Direct Attention in an Immersive Display?

Use “natural” viewing directions for default.

How Do You Direct Attention in an Immersive Display?

Use “natural” viewing directions for default.

How Do You Direct Attention in an Immersive Display?

Use “natural” viewing directions for default.

How Do You Direct Attention in an Immersive Display?

Use “natural” viewing directions for default.

How Do You Direct Attention in an Immersive Display?

Use “natural” viewing directions for default.

Directing the Viewer’s Attention: Black Holes

Directing the Viewer’s Attention: Black Holes

Directing the Viewer’s Attention: Black Holes

Directing the Viewer’s Attention: Black Holes

Use contrasting elements to increase visual intensity, interest

Similar visual elements to decrease visual intensity/dynamic

Affinity and Contrast in Movements

Affinity and Contrast in Movements

Affinity and Contrast in Movements

Affinity and Contrast in Movements

Affinity and Contrast in Movements

Affinity and Contrast in Movements

Affinity and Contrast in Movements

Affinity and Contrast in Movements

Affinity and Contrast in Movements

Affinity and Contrast in Movements

Affinity and Contrast in Movements

Affinity and Contrast in Movements

Affinity and Contrast in Movements

Affinity and Contrast in Movements

Affinity and Contrast in Movements

Affinity and Contrast in Movements