![]() With third-person POV, the major idea to remember is that we’re still hardwired as humans to presume our participation in a virtual space (more on this in the article linked above). At the same time, third-person POV is very often the easier choice to work with. It’s not impossible- Catatonic uses this idea to great effect-we just want you to be fully aware what you’re getting into.įor these reasons, first-person POV has the higher degree of difficulty, though, of course, that sense of presence can increase dramatically when it’s grounded in an actual character and you are actually seeing things through someone’s eyes. In standard 360° video, you may not be able to respond when another character speaks to you, and this limitation is something you’ll then have to account for in your storytelling if you don’t want that presence broken. The same thing goes for directly engaging with other characters. Furthermore, filming in 360° with a body poses more challenges in production and post-production (and it’s no cakewalk to begin with). So, opting to have a body may actually run the risk of disrupting that sense of presence and immersion. If you are going to go with the first-person POV, the next question to ask is: Will the viewers’ avatar have a body? In other words, if I look down, will I see a body? In simple 360° video, you are not going to have full motion-control so there is no way to control the virtual body in any realistic way. The primary thing to keep in mind is that, no matter what specific POV you go with, you want that choice to be in service of generating and maintaining presence for the audience. ![]() There are obviously pluses and minuses and additional questions that come with both. Will your audience see things through a specific character’s eyes (first-person POV) or will you simply take on an “objective,” detached perspective (third-person POV)? In 360° storytelling, you must directly address the question of which specific POV you will utilize in your story. The nuts-and-bolts part of presence is point of view (POV). The very nature of VR/360° video means viewers are not passive-so your storytelling has to help invite them to be active. What will they discover simply by looking around this space? (We’ll address this in more detail in the “Set & Setting” section later). On the simplest level, this means giving the viewers things to learn, things to discover, things to reveal. Working with that sense of presence and taking advantage of its features is a unique and essential part of your job as an immersive storyteller. In other words, your audience will feel an increased sense of responsibility-these questions of Why am I here? and What should I do? This is why games and genre stories that focus on intentions (rescuing something capturing something escaping something solving something) work particularly well. There is no such thing as a neutral observer. ![]() One article we love that addresses this notion is Katy Newton & Karin Soukup’s “ The Storyteller’s Guide to the Virtual Reality Audience. That sensation in turn leads to the need to be active, to have intentions, to play a role. ![]() Simply put, presence in VR is the sensation of being in the space of a given experience, of sharing that space with characters, of being there. It’s the heart of what makes an immersive experience like VR special and unique. Our look at VR storytelling ought to begin with presence. We’re guessing many readers fall into a similar camp, so we decided to make this resource available to the public-think of it as something like, “VR Writing and Storytelling 201.” Presence Though it’s geared toward 360° filmmaking, we also wanted to get creators thinking about conceiving and composing VR experiences with an eye toward the medium’s future. The participants included accomplished creators who already had experience producing immersive video (program requirements stipulated they needed to have at least 10,000 subscribers and two 360° videos under their belts) and so, while many of these kinds of guides are geared toward beginners, we wanted to use this opportunity to explore concepts in greater depth than we’d seen elsewhere. An overview and guide to immersive writing and storytelling was included as a part of this lab. In August, VRScout & VR Playhouse partnered with YouTube Space LA to put on the “ VR Creator Lab, ” a 3-month intensive for a select group of YouTube content creators looking to enhance their VR/360° output. All great VR stories still begin with words in your head.
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