2016年被业界称为VR元年。OculusRift、OculusGo和GearVR三款虚拟现实头戴式显示器的推出和克里斯·米尔克一系列VR电影短片的制作,标志着VR技术应用于电影创作并为更多人所熟知。VR电影经过了6年的发展,已经呈现更多样的类型和特征,在沉浸性、交互性和仿真性上各有侧重和发展。本报告结合学界和电影界已有的分类,将2016年以来的VR电影类型归纳为不可交互和可交互两种。不可交互的VR电影以全景电影为主,可交互的VR电影细分为弱交互和强交互两种。弱交互与强交互的区别主要在于观影者是否具有触觉等身体感知、观看行为是否占据主导、观影者是否创造叙事。目前,全景电影已成为VR电影的主流,可交互电影仍面临着如何进一步实现互动性和沉浸性的平衡、电影叙事语言的革新、技术设备的开发等难题。
<<The year of 2016 witnessed the outbreak of virtual reality. The launch of three kinds of virtual reality headsets and VR short movies of Chris Milk signify the application of VR in movies and its popularity among consumers. After 6 years development,VR movies are varied in forms and features which show different facets and levels in terms of immersion、simulation and interaction. Based on existed classification of the areas of film festivals and film studies,this report divides VR movies into two types:non-interactive movies and interactive movies which subdivided into weak-interactive one and strong-interactive one. The differ-ences between weak-interactive one and strong-interactive one are that weather the VR movie triggering physical perception (for example,the feeling of touch)、giving viewers the chance of narrating and allowing more activity beyond watching. At present,the Cinerama becomes the mainstream of VR movie while the interactive VR movie is confronted with the challenge of achieving the balance between interaction and immersion、the innovation of camera language、advance of VR technology and so on.
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