The Geometry of Storytelling: Theatrical Use of Space for 360-degree Videos and Virtual Reality
summary
Four theatre directors stage the same six-minute scene with four groups of three actors, recorded three times in theatre and three times with a 360 camera (six recordings per group), using three camera angles to triangulate actor coordinates and review footage on a 96° headset. Quantitative findings show shorter distances to the camera, fewer shots with the camera in the middle, the most empathetic character sits closer to center, and mean interpersonal distance drops at the end when performers huddle; rehearsals add props like chairs and an oh chair to shape movement.
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chapters (16)
- 0:00Introduction to talk
- 0:25Cinematic 360 misconceptions
- 1:33360 challenges and solutions
- 2:35Theater space and 360 parallels
- 3:16Research questions and methodology
- 5:44Study design and script selection
- 7:10Spatial anchoring in rehearsals
- 8:19Spatial formations across groups
- 9:43Proxemics and narrative themes
- 10:46360 vs theater spatial differences
- 11:28Direct comparison findings
- 12:11Key takeaways and future work
- 13:16Q&A: Is 360 cinematic?
- 13:39Q&A: Viewer attention control
- 14:22Q&A: Actors calling for attention
- 15:25Q&A: Audience feedback on 360
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