Multi-Device Storyboards for Cinematic Narratives in VR
Henrikson, Rorik & Araujo, Bruno & Chevalier, Fanny & Singh, Karan & Balakrishnan, Ravin. (2016). Multi-Device Storyboards for Cinematic Narratives in VR. 787-796. 10.1145/2984511.2984539.
Summary:
In this paper, the author points out that planning narratives for VR is quite a challenging problem, due to many barriers. Lacking supporting tools is one of the most important questions to explore the creative process in VR. Based on this situation, the author proposed a workflow that combined a sketch tablet and VR display device together. This combination let users sketch on stacked panoramic panels, corresponding to concentric cylindrical surfaces of increasing view depth. In this paper, the author gave us several differences between the comparison of traditional movies and stories in virtual reality. Like presences, active experience, blocking, limited transitions, and so on. In the working prototype, sketching view is kind of traditional, but adding different view depth can actually supporting the director’s spatial vision. The author also designed a view to aiding the quick placement and block objects overhead view. In the panoramic storyboard view, the author used this to show sequences of panels. From this, the artist can also quickly jump between panels for further edits in the sketching view.
The diorama storyboard view is kind of interesting. This acts as the VR counterpart of panoramic storyboard view on the tablet. In this view, panels are represented as a series of 3D miniatures within cylindrical discs with white backgrounds.
Reflection:
I really like the idea that the author decided to use both a sketch tablet and VR device to achieve their goals. Using these two devices at the same time could let directors guide the users through a narrative smoothly. This action makes the VRSs more like traditional movies. Using sketch tablet and VR display devices together leverages the domain expertise of storyboard artists and make the interactions in VR devices between the director and artists.
And in the panoramic storyboard view, I like that the author highlighted the primary area of focus for each panel, allowing the artist to understand and experiment with different focus transitions along other subsequent panels. This could lead to the attention of users while watching a VR story.
And the overhead view is also a great design. Flipping back and forth could guide the attention of audiences, making them focus on the narrative and understand the flow of action. This could also benefit spotting changes in depth and location for the user who may lose themselves.
Discussion:
I wondering is it really enough that the author only interviewed several professionals from the VR cinematic industry instead of testing in participants? Because this system is designed to improve the VRSs. So I think doing user study is a better choice.
And I also kind of curious about the sketch drawing kinds of stuff. Because sketch drawing is kind of a casual thing. Would this influence the users’ experience while using this system? What would happen if some directors are not good at drawing?
In the future, would this be implemented into one director guiding more artists?