ABSTRACT Virtual Reality (VR) has been an area of research for over 40 years yet only recently has it begun to achieve public acceptance. One key to this has been the development of ‘Cinematic Virtual Reality’ (CVR) where media fidelity approaches that found in feature film. Unlike traditional VR, CVR limits the level of control users have within the environment to choosing viewpoints rather than interacting with the world itself. This means that CVR production arguably represents a new type of filmmaking. Grammars for filmmakers have developed significantly resulting in a rich vocabulary available to use to create compelling stories. Relatedly, researchers into VR have also begun to understand mechanisms behind compelling engagement within VR. This paper looks to find a bridge between these two previously disparate media. It is argued that the concepts of ‘suspension of disbelief’ and ‘presence’ can be linked via ‘transportation theory’. The applicability of existing filmmaking directing techniques for the creation of CVR projects is then explored. Existing film production methods are considered in a manner adapted to establishing ‘presence’ in a CVR space. Finally, areas for future exploration are considered in light of the immaturity of CVR as a medium.

中文翻译：

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电影虚拟现实导演：传统电影导演的技艺如何应用于沉浸式环境和存在感

摘要 虚拟现实 (VR) 作为一个研究领域已有 40 多年的历史，但直到最近才开始获得公众的认可。其中一个关键是“电影虚拟现实”（CVR）的发展，其中媒体保真度接近故事片中的媒体保真度。与传统 VR 不同，CVR 将用户在环境中的控制水平限制为选择视点，而不是与世界本身进行交互。这意味着 CVR 制作可以说代表了一种新型的电影制作。电影制作人的语法得到了显着发展，从而产生了丰富的词汇，可用于创作引人入胜的故事。与此相关的是，VR 研究人员也开始了解 VR 中令人信服的参与背后的机制。本文试图在这两种以前不同的媒体之间找到一座桥梁。有人认为，“怀疑的暂停”和“在场”的概念可以通过“运输理论”联系起来。然后探讨了现有电影制作导演技术在创建 CVR 项目中的适用性。现有的电影制作方法被认为适合在 CVR 空间中建立“存在”。最后，考虑到 CVR 作为媒介的不成熟，考虑了未来探索的领域。