IJSIM : International Journal on Stereo & Immersive Media, Vol. 7, Nº. 1 (2023)

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http://hdl.handle.net/10437/14440

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    Lighting in cinematic virtual reality
    (Universidade Lusófona de Humanidades e Tecnologias, 2023) Säks, Ermo
    With the emergence of inexpensive virtual reality (VR) head-mounted display (HMD) systems in recent years, VR has become commercially viable and more widely popular with some 200 million users worldwide. An important role in this take-up has been the development of cinematic virtual reality (CVR). As in any imagery, lighting design is one of the crucial elements in CVR that can greatly enhance the immersive experience in creating a desired look and feel and an engaging environment for the viewers to explore. However, there is currently very limited research on how set lighting can be and is used in CVR productions. This paper aims to fill this gap by reviewing the prevalent concepts for set lighting 360-degree videos which are companioned by examples by studying an existing CVR drama genre experience Wiktoria 1920. This paper investigates four set lighting strategies used in CVR: natural or ambient lighting, practical lighting, hidden lighting, and mixed lighting.
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    Exploring the archaeology of immersive visual media in Spain (1822-1872)
    (Universidade Lusófona de Humanidades e Tecnologias, 2023) López-San Segundo, Carmen; Calvo Cristina, López; Prieto Marina, Hernández
    Este artículo presenta un estudio exploratorio destinado a avanzar en la identificación, análisis, evaluación y difusión de evidencia documental relacionada con los medios visuales inmersivos en España entre 1822 y 1872. Las referencias relevantes para esta investigación se obtuvieron de testimonios culturales encontrados en anuncios de prensa histórica en línea. y colecciones de noticias alojadas en hemerotecas digitales españolas. Para lograr esto, la investigación se estructuró en torno a dos tareas fundamentales. La primera tarea implicó la delimitación, identificación, inventario, catalogación y registro de la información encontrada en las fuentes documentales. La segunda tarea consistió en mapear y visualizar los registros ubicados en fuentes primarias, como periódicos locales en español a través de gráficos de red y visualizaciones.
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    Volumetria e montagem como instrumentos de experimentação no expressionismo abstrato do cinema de Ken Jacobs
    (Universidade Lusófona de Humanidades e Tecnologias, 2023) Souza, Fabiano Pereira de
    Este artigo tem como objetivo reunir obras, propostas, características de estilo e análises relacionadas ao trabalho do cineasta experimental americano Ken Jacobs com efeito tridimensional, seja por meio de estereoscopia ou outras técnicas que ele tenha adotado. A questão da profundidade de campo e distribuição dos corpos na imagem é central no trabalho de Jacobs, mas ela não se pauta por representações verossímeis, pois a base da sua formação como artista se deu no escopo do Expressionismo Abstrato em meados do século XX. Com a tecnologia digital deste século, a produção do americano ligada à imagem tridimensional se intensificou e diversificou, de modo que falta ainda uma análise especializada mais ampla e aprofundada dessa parte de sua filmografia, propósito para o qual este estudo tem o intuito de contribuir.
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    'By the aid of our glass you see’ immersivity, illusion, and identity in "The Stereoscopic Photograph Magazine"
    (Universidade Lusófona de Humanidades e Tecnologias, 2023) Judd, Sarah
    Despite being commonly referred to as ‘Victorian virtual reality’, the social impact of stereography is rarely given as much scholarly attention as more contemporary forms of immersive media. Utilizing recent scholarship from media studies- in particular criticisms of immersivity and witnessing as a mode of perception- this paper will analyze articles from The Stereoscopic Photograph, a publication by the stereographic publishing house Underwood & Underwood. From this, it becomes apparent that Underwood & Underwood used illusions to create an ideological framework for the audience to understand their stereographs in. Far from being neutral, this framework tried to shape the viewer into a certain identity: someone who would continue to consume their products and uphold culturally dominant paradigms on cultural difference.
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    Literature and panoramic structure
    (Universidade Lusófona de Humanidades e Tecnologias, 2023) Fontanella, Lee
    American writer John Greenleaf Whittier composed his ambitious poem "The Panorama" in late 1855, not long before the Civil War of the States (1861-1865). Literarily, it was meant to dissuade the North and new western territories from following the example of the southern Democrats, and to abolish black slavery. For us today, interest rests also in the way this poem was structured. Whittier must have witnessed a "moving-Panorama" spectacle in his native New England and determined that he would apply that same mechanism for revelation, as structural basis for his lengthy, sententious poem. The political message of this work has earned notable attention, but its reliance on a mid-nineteenth-century popular spectacle had been mentioned just in passing. My aim is to demonstrate intricately how that popular spectacle was applied in this poem.
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    The aesthetic illusion of “Dogville”
    (Universidade Lusófona de Humanidades e Tecnologias, 2023) Yeoman, Ivar Erik
    Werner Wolf (2013) defines the concept of aesthetic illusion as describing a certain pleasurable state of mind that takes place when a user is engaged or immersed in media work(s). He points out that even though the user is in a state of engagement, it is nevertheless aware, in one way or another, of the medium it engages with. Wolf lists and describes certain principles necessary to media work for that state of mind to happen, one of them being the principle of celare artem which proposes that engaging work of media conceals its medium. Here, the principle is challenged by applying it to the film Dogville by Lars von Trier, whose author uses Brechtian distancing-effect methods to experiment with the relationship between audience engagement and distancing. Finally, the conclusions of the research are used to propose a further discussion on the criteria of a closely related concept from new media studies, presence, and how it concerns the immersive possibilities of new media, such as Virtual Reality.
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    Napoleon III : his use of photography and stereoscopy for political purposes
    (Universidade Lusófona de Humanidades e Tecnologias, 2023) Pellerin, Denis
    Denis Pellerin is a photo-historian with a passion for stereo photography. He has been researching and learning about the history of stereoscopy for over 45 years and has written or co-written more than a dozen books and authored nearly seventy articles on his pet subject, both in French and in English. His latest book “L’Emp’reur, sa femme et le p’tit Prince: la famille impériale, la photographie et le stéréoscope” was released in May 2023, less than two years after his study on the first thiry years of the stereoscopic medium: “Stereoscopy: the Dawn of 3-D”. Since 2012 Pellerin has been the head curator of Dr. Brian May’s extensive collection of stereo photographs, now a charity. Dr. May and Pellerin have co-authored three books together and Pellerin is already working on some new publications deeply involved in the various activities of the Brian May Archive of Stereoscopy and of the London Stereoscopic Company. Denis has been the director of the said company since September 2015. Over the past few years he has given over a hundred and thirty Zoom and in-person 3-D talks on different aspects of Victorian stereo photography and has lately broaden his investigations to cover the first half of the twentieth century.
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    The FBS collection of stereoscopic photography : a treasure trove fostering research
    (Universidade Lusófona de Humanidades e Tecnologias, 2023) Pérez González, Carmen
    The article presents the FBS Collection‘s project, which focuses on establishing the FBS Foundation, devoted to fomenting the study of the history of photography from a scientific and interdisciplinary point of view. The first part is devoted to the evolution of the collection by periods between 1978 and 2023: The thrill of stereoscopy (1978 to 1985), The universe of suppliers and collectors (1985 to 1996), Immersion in the world of stereoscopy (1996 to 2008), The volume and variety of the collection have grown so, that they overflow its current space (2008 to 2015), Utility and preservation of the collection as a whole (2015 to 2020), Viability of the Foundation and formation of multidisciplinary research groups (2020 to 2023). The second part will reflect on the elements and subcategories within the collection. And the third part will focus on new activities and applications for the collection in different disciplines, the activities already undertaken and those we hope to develop in the field of neuroscience, among others.