As a new art form, the production and shooting methods of VR movies are also different from traditional movies. Then, in VR movies, how should we guide the audience's attention and attention so that the audience can see where the director wants them to see?
In VR, the director directs them to watch a movie by attracting the user's attention.
One of the points of interest (POI) constitutes the lens language in VR movies.
For example, the protagonist is doing something that will affect the direction of the entire story. The POI is designed here - to make it visible to the user.
Walter Murch once said, "To give them what they want and/or what they need just before they have to "ask" for it — to be smart yet self-evident at the same time."
I translated it: "After the user asks why they want to know before the user, before the user can reason out the results give users a shocking answer. ã€
To sum up, one sentence is “to appetite†and summarizes the core of guiding users' interest points.
In the image below, the day and the mountain are connected. It is a piece of white, but there is a small dark figure standing there.
In the snow-white picture, there is a contrast between light and shade to bring out the small hero;
Then there is a contrast between the movement and the static. There is a moving figure on this quiet snow.
Most of him squatted forward and buzzed.
However, if you are in a noisy environment (such as in the orbital train shown below), you may find interest everywhere, causing visual and auditory noises throughout the scene.
In hearing, many sound sources emit their own voices;
In motion, many people are doing different actions;
In terms of contrast, colored clothes are transformed outside the window.
......
Of course, this will be very natural. In real life, there are so many "points of interest" waiting for us to pay attention. However, in traditional movies, users use a lens language to connect one interest point to another. When you read it, you know: "Oh, this is the story the director wants to tell."
If it is a particularly complex scenery or texture, the POI is completely confused, and the whole picture may be the user's point of interest.
Because for the entire environment, even if your eyes are looking at a place or sweeping across a large area, the image formed in your brain is still a similar scene.
spotlight
The point of interest in the spotlight story is called spotlight. You sit in a dark seat and the protagonist on the stage is illuminated by a spotlight.
The spotlight is a way to attract audiences on the stage, and spotlight stories is just an attempt by Google to explore this tactic. I think that because VR users are attracted by too many scenes that surround them, they lose focus on the stories. So the spotlight stories use the spotlight to learn the lighting techniques of the stage art and imagine the panoramic space at this time as a On the stage of the sphere, the spotlight guides the user's eyes on each stage.
In fact, the spotlight team has always emphasized the use of "light" as an element to draw the user's attention, such as the three doors shown below.
For example, there is a detail in the cardboard design lab that is to look up at the stars in the sky and see the different regions of the constellation in different regions. This is a very interesting visual hint.
Another way is to learn Classon's mime, several animations, not a single word, only simple sound effects and lively background music.
The panoramic movie "on ice" completely uses the "spotlight" technique.
The entire animation takes the theme of skating.
Points of Interest Trigger Event
In "windy day", the entire hat is a clue to the story, attracting your attention.
The picture is there waiting for you. It will only move when you turn to see it.
Points of Interest Follow Lens Movement
The point of interest in "help" is always the monster that is running:
The camera moves with the point of interest
Attract users to turn around
In "det", when the user's perspective is always looking at the clouds in the sky (places that should not be seen).
A butterfly appears on the screen, guiding the user's perspective back to the storyline:
The red dot in the figure below is where we want the user to look, and if the user doesn't look there.
We have to use some hint to attract the user's attention (preferably to attract the user's attention before the story preparation in that perspective occurs, and when the user turns his head, the story begins).
For example, there is some movement in that place (because the user's peripheral vision is sensitive to moving objects)
The user's attention is drawn and he turns his head:
Of course, the best way to get users to turn to see the interest you set is to use "hint", such as where a sound is emitted or an animation guides the user's visual center.
However, this is also a contradiction. The more and more powerful the cue you give, the easier it is to attract users. The more unnatural is the screen, the less you give, the less likely it is to draw the user's attention. Naturally, the more immersed.
As Walter Murch said: "If you are too far behind or ahead of them, you create problems, but if you are right with them, leading them ever so slightly, the flow of events feels natural and exciting at the same time."
Transfer of points of interest
For example, two people are talking, one is on the right side of you (as a panoramic camera) and the other is on the left. Therefore, when designing this scene, it is necessary to consider the order of their speeches, which must be spoken in chronological order.
When everyone speaks, you turn to look at one of them.
Summarized into a panoramic view.
Then turn to look in the opposite direction.
In the following panoramic video, the main line is talking about a girl playing the violin, but also has a sound source and changes.
And you turn to see her parents overhear.
At this point, the user listened to the violin melody from behind the ear, and then looked at the expression on her face when her parents heard the violin, ~\(≧▽≦)/~)
The hero of the storyline is playing the violin, and you turn to see the parent she is listening to. You understand the story background of this story, and it is natural to understand.
Therefore, there is no vantage point at the highest priority here.
These are branch plots that make you feel that even if you don't see the main line that the director asked you to see, you still feel that the world is alive.
When an object or protagonist is close to a panoramic camera, his movements, such as going from there to the next, will guide the user to turn his head to follow his movement.
And the user can follow his movement to enter a new scene
Therefore, there is a technique that attracts the user's attention, called potential experiencing, to attract the user's attention to the preparation time (before the story or action starts).
For example, if the user has just entered VR, he still enjoys the summit of the snow-capped mountains. At this time, the voice of “呛呛†is heard from behind.
Then the user turned his head and found that there was a dark shadow on the snow-capped mountains. Look closely at “Hey, isn’t it personal?†“What is he doing?â€... Then the story begins successfully.
The process of turning the user is the preparation time of the user.
In the VR movie, switching between two scenes requires the use of a technique that attracts the attention of the user to match on attention.
Therefore, we must first determine the user's attention to see where, for example, the user is looking at the distant people on the snow-capped mountains.
At this time, the scene is switched to the scene of the tram.
Since the user's head has not changed in the three-degree-of-freedom space, or is looking at that direction, this is the new point of interest set by the director.
According to Xiao Bian, VR movies are still at the exploratory stage and many aspects need to be improved and studied. At this stage, borrowing from other people's production experience will help them to better develop their creativity in VR movies.
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