In the case of a walking tour, it was crucial that there be a reason to move from one location to the next, to stop here as opposed to just anywhere, and that there be something to learn or discover along the way. The viewer is now ever more so a listener, and the soundtrack has the power to direct them to relate and connect aural information with the visual world around them.Īnd interactive technology creates for the user an expectation that the information or stimuli provided, whether it be in text, visual, aural, or other sensorial form, be made accessible and if engaged with, that there should be a response or outcome.
Audio, which has often played a more supportive role to the visuals in cinema, moves to the foreground, as it becomes more influential. Editing is used more sparingly, for any change of location can be jarring, as if one’s entire body has been transported into a new space which requires a period of re-orientation, of settling in. But in a 360 production, the viewer is in greater control of what they see. Controlling what, as well as, the way the viewer sees, is an indelible part of cinematic language and strategy. Other formal devices that augment the power of editing are framing devices such as the wide, medium and close-up views. Editing plays a key role in shifting perspective or location or time. Camera movements such as tracking, dollying and zooming can be used to create a sense of moving through space or expose something revealing. In traditional filmmaking, the point-of-view can shift from third person (a fly-on-the-wall’s perspective) to first person (a protagonist’s perspective, say) to second person (someone responding to that protagonist).
360 Riot Walk was my first foray into 360 video technology, and although I had worked with video before and experienced various VR and AR projects, I soon learned that making something in surround-sight-and-sound required a significant shift in approach.
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