“Spherical 3D Film. The Birth of a New Visual Language in Storytelling”
Director of the research group
PhD Milenia Fiedler
Research Team
PhD Milenia Fiedler
PhD Iwona Pomianowska
Jacek Nagłowski
Introduction: At the turn of the 20th century, when the Lumiere Brothers presented the “L'arrivée d'un train à La Ciotat” the language of 2D cinema laid still in its infancy and had yet to be discovered. Nowadays, when the virtual-reality technology matures, artists and filmmakers have to define anew the means of cinematic expression as well as their craft respecting traditional frame and cuts, the most fundamental technique of editing… as they’re all gone. The boundary of the image is not the only concept being completely reinvented by the spheric three-diemnsional film. Film, like video games, is an artistic collaboration of several different disciplines (cinematography, graphic design, special effects, theatrical arts, architecture, etc.). “All we know is that traditional rules of filmmaking no longer apply (…) We’re focused on the technical aspect to begin with as there are still big challenges in the capture, workflow, and playback … but I think the even bigger challenge is the new visual language that is going to emerge” concludes one of the creative linguists attempting to translate virtual reality’s new visual language is Dennis Danfung, the author of Zero Point, a documentary film about virtual reality, shot for virtual reality. How the instant manipulation of time and space (previously performed through the traditional editing) will evolve? How the attention-guidance will look like while shifting to viewer-centric editing techniques? How the screenwriting of the spherical cinema and the new filmmaking process will affect the editing workflow? And crucially – how the psychological experience evolves while shifting to the new spherical cinema experience? These are the questions that occupy us.
Director of the research group
PhD Milenia Fiedler
Research Team
PhD Milenia Fiedler
PhD Iwona Pomianowska
Jacek Nagłowski
Introduction: At the turn of the 20th century, when the Lumiere Brothers presented the “L'arrivée d'un train à La Ciotat” the language of 2D cinema laid still in its infancy and had yet to be discovered. Nowadays, when the virtual-reality technology matures, artists and filmmakers have to define anew the means of cinematic expression as well as their craft respecting traditional frame and cuts, the most fundamental technique of editing… as they’re all gone. The boundary of the image is not the only concept being completely reinvented by the spheric three-diemnsional film. Film, like video games, is an artistic collaboration of several different disciplines (cinematography, graphic design, special effects, theatrical arts, architecture, etc.). “All we know is that traditional rules of filmmaking no longer apply (…) We’re focused on the technical aspect to begin with as there are still big challenges in the capture, workflow, and playback … but I think the even bigger challenge is the new visual language that is going to emerge” concludes one of the creative linguists attempting to translate virtual reality’s new visual language is Dennis Danfung, the author of Zero Point, a documentary film about virtual reality, shot for virtual reality. How the instant manipulation of time and space (previously performed through the traditional editing) will evolve? How the attention-guidance will look like while shifting to viewer-centric editing techniques? How the screenwriting of the spherical cinema and the new filmmaking process will affect the editing workflow? And crucially – how the psychological experience evolves while shifting to the new spherical cinema experience? These are the questions that occupy us.