Transformation of directorial intent: from linear narration to omnidirectional space

Dobrynin Oleg Vital'evich ORCID: 0009-0005-4303-7457 Senior Educator, Department of Animation and Computer Graphics, Russian State University of Cinematography named after S. Gerasimov (VGIK) 3 Wilhelm Peak str., Moscow, 129226, Russia oleg.dobrynin.70@list.ru Other publications by this author

The modern world of cinema is gradually changing under the influence of new technologies. In this context, spherical cinema (360° video) and virtual reality (VR) occupy a special position. These formats give the viewer a unique opportunity to be not just an observer, but a full-fledged participant in the event, creating the effect of presence or immersiveness. In recent years, VR 360° content has been actively introduced into various fields: from cinema to marketing, education and therapy. According to research by Mel Slater ^[1] and Jeremy Bailenson ^[2], the immersive effect achieved in such formats directly affects viewer perception and emotional engagement. This trend indicates the formation of a new aesthetic of audiovisual art, where traditional approaches to storytelling are becoming insufficient.

Of particular interest is spherical cinema as an independent stage in the development of audiovisual media, which not only expands the scope of cinema, but also creates a new paradigm of interaction with the viewer. As Lev Manovich notes ^[3], technology shapes not only the language, but also the way art is perceived.

Despite the active development of spherical content, directorial approaches in this format are often based on traditional linear narratives that do not take into account the possibility of a full 360° view. This leads to a conflict between the director's idea and the viewer's perception. As Chris Milk demonstrates in "Evolution of Verse" (2015) and Alejandro Inarritu in "Carne y Arena" (2017), a successful spherical project requires a new approach to working with space, viewer attention and emotional engagement.

Theoretical foundations of spherical cinematography

Spherical cinematography ^[4] is a new format of audiovisual art that allows the viewer to get a full 360-degree view. This is achieved through the use of cameras that capture the image from all sides, and special playback technologies such as VR helmets or interactive screens. Unlike traditional cinema, which is based on limiting the viewer's field of view, the spherical format provides freedom of choice of the direction of view. This creates a unique sense of presence, where the viewer becomes not just an observer, but a participant in what is happening.

It is important to note that spherical cinema should not be confused with VR (virtual reality) or AR (augmented reality). While VR often involves total immersion in an artificial world, spherical video is a cross between linear storytelling and an interactive experience, giving the viewer a certain degree of freedom within a predetermined space.

Creating spherical content requires the use of specialized hardware and software. At the shooting stage, cameras with multiple lenses are used, capable of capturing an image at 360°. Examples of such devices include the Insta360 Pro, Insta360 Titan, GoPro Max, and Nokia OZO type cameras. At the post-production stage, spherical content undergoes the image stitching process, which combines frames from different lenses into one solid spherical image. Programs such as DaVinci Resolve, Adobe Premiere Pro, Mistika VR and Kolor Autopano are used for this purpose.

The spherical format also imposes limitations on the mounting tools. For example, the director needs to take into account that the viewer can look in any direction, which means that classic techniques such as close-up or rapid change of angles lose their effectiveness. Jeremy Bailenson's research ^[2] shows that unexpected changes of angles in VR can cause disorientation and a decrease in the level of viewer engagement.

Spherical cinematography creates new aesthetic challenges for directors and cameramen. In traditional cinema, the composition of the frame obeys various rules, such as the rule of thirds, symmetry and balance, perspective, depth of field, framing, golden ratio, etc. and focuses on attracting the viewer's attention to the key elements of the frame. In a spherical format, such rules lose their meaning, since the viewer chooses where to look.

This leads to the need to create a composition that takes into account the multidimensional nature of the action and encourages the viewer to pay attention to important details. As Chris Milk ^[5], the creator of the spherical project "Evolution of Verse" (2015), notes, spatial sound and movement become the main tools for controlling the viewer's attention.

Another aesthetic challenge is to change the perception of time. According to Andrei Tarkovsky ^[6], time is a key element of cinema. In spherical cinema, the perception of time is directly linked to space, which creates unique opportunities for experimenting with the rhythm and dynamics of the narrative. Comparing spherical and traditional cinema, there are several key differences:

• The linearity of the narrative. In traditional cinema, the director controls the viewer's gaze, directing it to certain details of the scene. In the spherical format, the viewer gets the freedom to choose the direction of view, which changes the approach to drama.
• The composition of the frame. If in traditional cinema the composition is limited to the frame of the frame, then in spherical space the director has to work with the mise en scene in 360° format.
• Mounting. Classic editing techniques, such as large-scale editing or dynamic changes of plans, are not suitable for spherical cinema.

Transformation of the director's idea

Directing in spherical cinema requires a revision of the usual approaches, since the main challenge lies in the absence of a fixed frame. The viewer becomes an active participant in what is happening, choosing where to look. As Chris Milk notes in one of his speeches, "spherical narration creates conditions under which the viewer becomes both an operator and an editor of his own experience" ^[5].

The director, working in 360° format, is faced with the need to create a space where the viewer can explore the world around him, while maintaining interest in the key elements of the plot. This requires the use of a multidimensional mise-en-scene, in which the action takes place on several levels, simultaneously drawing attention to both the foreground and the background. The emergence of spherical cinema has opened up opportunities for the use of new expressive means, such as:

1. Spatial sound (ambisonics). Spatial sound becomes one of the main tools for controlling the viewer's attention. As Agnieszka Roginska's research has shown ^[7], ambiophonic sound systems allow you to direct the viewer's attention to a specific object or place in the scene. For example, the sound of footsteps behind you may prompt the viewer to turn around without resorting to visual cues.

2. The movement of space around the viewer. In the conditions of the static position of the viewer in a spherical format, dynamics can be created due to the movement of the space itself. This approach is actively used in immersive installations and films, where the elements of the environment change smoothly, setting the rhythm and directing the viewer's attention. For example, in the project "Carne y Arena" (2017) by Alejandro Gonzalez Inarritu, the viewer physically remains in place, but the movement of space, objects and light creates the effect of involvement and interaction with the world of the film. Research in the field of VR, such as the work of Jeremy Bailenson ^[2], confirms that such an approach avoids disorientation and enhances the effect of immersiveness. This technique can be used as an alternative to camera movement, creating the illusion of the viewer's movement when in fact he remains motionless. This approach also avoids the physiological discomfort often associated with excessive movement of the viewpoint in VR.

3. A multifaceted mise en scene. Spherical cinema allows the director to simultaneously demonstrate several actions taking place at different levels of space. This expands the traditional storytelling possibilities, creating a new level of complexity.

In the spherical format, the classic linear montage loses its importance, giving way to the concept of continuous narration. The directors are forced to abandon the abrupt change of angles and plans in order to avoid disorientation of the viewer. As David Bordwell notes ^[8], in traditional cinema, editing creates rhythm and controls the viewer's perception, but in the 360° sphere, space itself takes over this function.

An example of a new approach is the Google Spotlight Stories project, which includes four interactive video stories. Each lasts for several minutes, during which the user is immersed in a 360° world and can observe what is happening from different angles. Here, the directors use the method of "hidden editing" – instead of a direct change of scenes, the transition is carried out through camera movement or an emphasis on certain elements of the environment.

Omnidirectional space as a new paradigm

The term "omnidirectional narration" implies the construction of a plot in which the viewer gets the opportunity to independently choose the direction of his attention within the space of the film. This leads to the destruction of the traditional linear narrative and the emergence of a new approach to the organization of the narrative.

In this context, spherical cinema acts as a form of "ecological narrative", where all elements of the environment (sounds, light, movement) serve as information carriers. As Marie-Laure Raya writes, "in a virtual environment, the narrative becomes more than a sequence of events: it turns into an environment that can be studied and experienced" ^[9].

The omnidirectional space requires a revision of approaches to drama. In traditional linear cinema, drama is built around a strictly controlled course of events, while in a spherical format, the viewer becomes the "co-creator" of the plot.

This approach changes the very nature of the conflict, which ceases to be linear. For example, instead of one consecutive line, the viewer may be involved in several parallel conflicts, each of which is revealed depending on his choice of the direction of view. This method has been actively used in interactive projects, for example, "Google Spotlight Stories", where the viewer can switch between different events taking place in the same space.

One of the key factors influencing perception is the level of freedom of the viewer. As Jeremy Bailenson's research shows ^[2], too much freedom of choice can lead to loss of attention or disorientation of the viewer. In this case, the director's task is to create conditions in which the viewer intuitively understands what to pay attention to.

An example of this approach is working with spatial sound. If the viewer is in a static point of view, sound elements can act as a "guide" within the narrative, directing attention to key points. In the film "Pearl" (2016), the movement of objects and sound form an organic flow of attention, allowing the viewer not to miss important details of the plot.

Methods of realization of the director's idea in spherical cinema

Tools for managing the viewer's attention. In the spherical format, the viewer has considerable freedom to choose the direction of view, which requires the director to develop attention management strategies. Among such tools, the key role is played by:

- The light. Light accents can direct the viewer's gaze to key elements of the scene. For example, in Chris Milk's "Evolution of Verse" (2015), the brightness and movement of light set the rhythm of the narrative and help the viewer focus on the plot-forming elements.

- Movement of objects. Movement within the frame, even minimal, attracts attention and retains interest. For example, the movement of birds or cars on the periphery causes the viewer to switch between different elements of space.

- Sound. Spatial sound is used to create a presence effect. As Agnes Roginskaya notes ^[7], sound not only directs attention, but also enhances the emotional perception of the scene.

Working with the mise en scene in a spherical space. The mise en scene in a spherical format requires a completely new approach. It is important to take into account:

• The versatility of the action. In a spherical space, the viewer can observe several events happening at the same time. This requires the director to carefully study the spatial interaction between the elements of the scene.
• Central and peripheral zones. The space around the viewer can be divided into "active" zones, where key events unfold, and a "background" space that supports the atmosphere. This approach avoids overloading the viewer with information.

Example: in the film "Pearl" (2016), the director uses the interaction between the central point of view (the driver of the car) and peripheral elements (the view outside the window) to create a dynamic but balanced scene.

A sound solution. Sound in spherical cinema becomes not just an accompaniment, but a full-fledged narrative tool. Modern technologies such as ambisonics allow you to create a sound environment that is perceived by the viewer as a natural part of the space.

- Localization of sound. Spatial sound helps to highlight the key elements of the scene. For example, if the sound comes from a certain direction, the viewer automatically turns in that direction.

- Dynamics of the sound environment. The gradual increase in sound or its disappearance creates the effect of space movement, even if the viewer remains motionless.

- Emotional saturation. Baylenson's research ^[2] shows that sound has a strong influence on the emotional perception of a scene, enhancing the empathic effect.

Example: in the film "Carne y Arena" (2017) Inarritu, the sound of footsteps and whispers create the illusion of presence, immersing the viewer in the emotional context of the story.

Summing up, we note that spherical cinema is a unique format that transforms traditional approaches to directing and storytelling. The study showed that the use of omnidirectional space requires directors to develop new expressive means and strategies for interacting with the audience.

The key findings of the study are as follows:

– in the spherical format, the director is faced with the need to take into account the freedom of the viewer in choosing the direction of view. This fundamentally changes the process of making a film, as traditional methods of managing attention through editing and framing become less effective. The director is forced to abandon classical editing techniques, focusing on a multifaceted mise en scene and spatial sound. Philosophically, this reflects a shift from an authoritarian to a more democratic approach in art, where the viewer receives greater autonomy in interpreting and interacting with the work.

– Omnidirectional space allows you to create non-linear and multi-layered plots, giving the viewer the opportunity to actively explore the environment. However, excessive freedom can lead to disorientation and loss of focus, which requires the director to develop new attention management tools such as sound signals, light accents and dynamic changes in the environment. This raises philosophical questions about the balance between freedom and structure, chaos and order, as well as the role of the artist as a navigator in a world of many possibilities.

– In spherical cinema, the viewer becomes not just a passive observer, but also an active participant in the narrative. This changes the traditional perception of cinema as a "closed" structure with a fixed narrative. The viewer gets the opportunity to explore the space on their own and influence their experience of the story. Philosophically, this reflects existential ideas about the subjectivity of experience and the construction of reality, where each individual creates his own understanding of the world through personal interaction.

– Working in 360° format requires the development of new tools, including specialized cameras for shooting spherical video, image stitching programs and spatial sound technologies. This is not only a technical challenge, but also a methodological one that requires a revision of traditional filmmaking processes. Directors and teams must adapt to new technologies and integrate them into the creative process, which raises questions about the impact of technological progress on artistic expression.

It should be emphasized that spherical cinema is at an early stage of its development, and its potential is far from being exhausted. Among the promising areas are technological improvement, the use of AI to control the viewer's attention, the emergence of new creative specialties; spherical content can be used in education, medicine, etc.

The development of equipment, including more affordable and high-quality 360° cameras and advanced VR devices, will make spherical content more popular and accessible to a wide audience. Using artificial intelligence to control the viewer's attention can be an important step forward, allowing you to create adaptive and personalized experiences. This opens up new philosophical discussions about the interaction of man and machine, about how technology can expand or limit our perception.

The spherical format can be effectively integrated with gaming technologies, interactive media and augmented reality, creating new forms of storytelling and interaction. This contributes to the emergence of interdisciplinary projects combining cinema, art, science and technology. Philosophically, this reflects the modern trend towards the synthesis of various fields of knowledge and cultural practices, the desire for a holistic understanding of human experience.

The emergence of spherical cinema requires the training of new generations of specialists capable of working with this format. Educational programs for directors, cameramen and sound designers are needed, which will include not only technical aspects, but also a philosophical understanding of new opportunities and limitations. This raises questions about the role of education in shaping the future of art and how to prepare creators to work in an ever-changing technological landscape.

In addition to art, spherical content can find applications in education, medicine and marketing, where the presence effect becomes an important tool. In education, this can contribute to a deeper assimilation of material through immersive environments. In medicine, it can be used for therapy and rehabilitation, having a positive effect on the mental and physical condition of patients. This expands the boundaries of the application of art and technology, affecting various aspects of human life and society as a whole.

Thus, spherical cinematography not only represents a new technical innovation, but is also a catalyst for rethinking the fundamental principles of cinema and art in general. It challenges traditional models of storytelling and perception, stimulating the development of new forms of artistic expression and interaction. This opens up rich prospects for further research and practical experiments, allowing a deeper understanding of how technology can transform our culture and experience. A philosophical understanding of these changes is an integral part of the process, helping us navigate the complex landscape of contemporary art and media technologies.