Thoughts on Immersive Filmmaking
By Jordyn Saito
The possibilities of 360 video is unlimited. There really is no type that it can be used for. What differs from immersive video and traditional video is the level of the participation of the viewer. Within the 360 video, the viewer is in the film. Because of this, emotions and empathy are heightened. This technology has been used as a medium of documentaries to bring the viewers to compassion. Stories that involve the viewer are the best to be used in the 360 video. Interactive films are also excellent for the medium. Stories that are meant to move the audience emotionally are best. For example, this medium was used to create a documentary on the life of a young girl in Syria. It gave the viewers a perspective of the life in Syria to convince the UN members to make choices that would help Syrians.
I want to put the 360 camera on the stage at bake during chapel. I will film part of chapel where no one is talking but all the students are watching. This film will be a personal experiment to see if people get nervous being on stage even if it’s virtual and not real. Do people feel more bold when they’re not in “real life”? Often people have more courage to do things online instead of face to face and I want to test if this remains true with virtual reality.
Ms. Goya, 2/9/16
Jordyn is interested in the experience of the immersive audience member/”4th wall” character in the immersive filmmaking experience. She suggested filming in Bakken Auditorium and playing around with the idea of performance. I found Jordyn’s idea of performance interesting and wanted to her not to ignore the role and power of site-base performance.
Her idea reminds me of the film Pina, a German 3D documentary film about the contemporary dance choreographer Pina Bausch. This was a HIFF selection I saw a few years back and opened my world to site-base dance choreography.
Excerpt from Pina
And a former MPSA dance instructor, Julie Ann Minaai, introduced me to the beautiful work of Anna Teresa De Keersmaeker. Here is an excerpt from Rosas danst Rosas, a film by Theirry De Mey and choreography by Anna Teresa De Keersmaeker. The choreography was designed for the camera and the dancers at times acknowledge the camera.
Jordyn: After watching these films, I want you to look up more choreography for the camera by Pina and De Keersmaeker. And rework your proposal around your “performance of the viewer”-idea.