IJSIM : International Journal on Stereo & Immersive Media, Vol. 4, Nº. 1 (2020)
URI permanente para esta coleção:
Navegar
Entradas recentes
Item Experience design for virtual reality : from illusion to agency(CICANT, 2020) Kuchelmeister, VolkerVirtual Reality (VR) allow viewers to inhabit and interact with virtual spaces in a way that has the potential to be much more compelling than any other medium, breaking through the barrier between merely watching to experiencing a situation or environment. It has an experiential quality by integrating the domains of interactive video games, filmmaking, storytelling and immersion. A balancing act between narrative design, digital placemaking and user agency. In this article, written from a practitioner’s perspective, I propose and demonstrate strategies in how immersive experiences can utilise multiple modes of representations, such as omnidirectional stereoscopic video and real-time 3D rendered geometry, to form a coherent spatial narrative environment for a viewer in VR. Particular emphasis will be placed on factors in visual perception; experience design including narration, scenography and user agency; and the technical conditions of the medium. This insight emerged from a series of recent VR projects, which are fundamentally different in terms of content, design and production techniques, but this diversity is an opportunity to lay the foundations for a classification system for VR experiences and establish a common language for this exciting new medium.Item Stereoscopy's impact on the making of digital visual effects in films(CICANT, 2020) Jacopin, EstherSince Avatar (Cameron, 2009) released, almost every stereoscopic 3D (S3D) film contain digital visual effects (VFX). Assuming that stereoscopy and VFX nowadays go hand in hand, this article aims to study the impact of stereoscopy on the making of digital VFX. It will cross information with crew members' witnesses from the production of French films Amazonia (Ragobert, 2013), Astérix & Obélix (Tirard, 2012), and The Young and Prodigious T.S. Spivet (Jeunet, 2013). This case study-oriented approach will go through the three film production's stages: pre-production, on-set principle photography, and post-production; in order to provide an overview of changes in cinematographic techniques that occur when designing stereoscopic-VFX, as well as how cinema technicians manage to adapt their skills to make stereoscopic and visual effects cohabit in films' images.Item Stereoscopy on the silver screen: the analyticon and early cinema in Edinburgh, Scotland(CICANT, 2020) McBurney, StephenThe Modern Marvel Company was incorporated in Edinburgh in 1897, with a remit to educate and entertainment. Building on the wider popularisation of science and radical changes in pedagogy, the company exploited various optical technologies to fulfil an ideal of universal education. The cinematograph and the Analyticon regularly shared the same bill; the latter was a stereoscopic technology built upon the principle of polarised light that depended upon a silver screen to work. Within the context of Edinburgh, stereoscopy directed shaped the ideological and aesthetic character of early cinema. This paper adopts tropes of traditional technological history by detailing the Analyticon’s technical workings, but it also adopts the principles of New Cinema History by situating this technology within a nuanced social context. In doing so, this paper offers a fuller understanding of early cinema’s aesthetic, social and cultural significance in Edinburgh, and its relationship with the wider visual culture of the 1890s.Item Global warming : the historical photographic evidence(CICANT, 2020) Blair, PeterThe photographic record of the Alps stretches from the 1840s to the present day and therefore provides visual evidence and significant insight into the devastating impact of global warming on alpine glaciers. In this study, we match photographs from around 1860, 1910 and today, from the same viewpoint, to provide a visual narrative of change in the glaciers of Chamonix Mont-Blanc. During a cooler period in the 16th-19th centuries, now known as the “Little Ice Age”, glaciers descended into alpine valleys and destroyed villages. The most recent maximum of alpine glaciers was attained in the 1820s. They remained fairly close to this maximum until the late 1860s, allowing early photographers to capture them in all their glory. Since then, glaciers have been in general retreat, with shrinkage accelerating on the back of global warming caused by human activity. The speed of change is alarming and is a concern not merely for skiers and alpinists.Item Slave to the Rhythm : examining immersive experiences through the interplay of music and gameplay In “Crypt Of The Necrodancer”(CICANT, 2020) Kagan, BradleyThe recent surge in popularity of video games has allowed for a deeper understanding and analysis of how video games can create powerfully immersive experiences. The blending of music and sound with the interactive and reactive nature of gameplay provide an experience that draws players into these gameworlds. A striking example of this effect can be seen in the game ‘Crypt of the Necrodancer’. Music is used as a controlling element that reinforces the transportational sense of player immersion. The player is restricted to only move to the beat of the soundtrack. All gameplay and musical elements respond and move in time to the music, resulting in the player ‘dancing’ around the levels. Isabella Van Elferen’s (2016) ALI methodology is used to break down and examine key aspects of the game and its music by drawing connections between the gameplay mechanics and the audio design.Item Ilusões impressas para um leitor-espectador no Brasil oitocentista: Vistas e gravuras nas Marmotas de Paula Brito(CICANT, 2020) Martins, Bruno GuimarãesNa segunda metade do século XIX, a imprensa ilustrada dava os seus primeiros passos no Brasil Imperial, aproximando de uma forma inédita as figuras do leitor e do espectador. A experiência imersiva promovida pelos primeiros dispositivos ópticos era transposta para descrições textuais e para gravuras impressas que convocavam para a leitura a experiência ilusória das imagens ópticas. Este artigo tem como exemplos algumas “vistas” e imagens extraídas de três jornais de variedades impressos pelo editor pioneiro Francisco de Paula Brito (1809-1861). Publicados ininterruptamente de 1849 a 1864, A Marmota na Corte, a Marmota Fluminense e A Marmota trazem em seus títulos alusão às marmotas, designação utilizada para as caixas ópticas preparadas para o visionamento de estampas. Nestas folhas o leitor era atraído para a página impressa como se fosse o espectador que espreitava pelo orifício de uma caixa em busca da experiência de ilusão visual.Item The stereoscopic negatives by J. Laurent : Portugal views in the year of 1869(CICANT, 2020) Teixidor-Cadenas, CarlosJean (or Juan) Laurent lived in Madrid and started to work as a photographer in 1856, by opening a portrait gallery. In 1857 he was already taking stereoscopic views. Between 1861 and 1868 he was announced as the photographer for Queen Elizabeth II of Spain. In1869 he traveled to Portugal to obtain city views and portrait the Portuguese royal family. Laurent sold these photographs at his headquarters in Madrid and through an extensive network of depositaries in different Spanish and European cities, including Lisbon and Porto. All his negatives from Portugal were made with the technique of wet collodion glass plates, using a handcart as a photographic darkroom. Most of the copies were printed on albumen paper, while some others on Leptographic paper. The Laurent archive is preserved in Madrid, in the Spanish Cultural Heritage Institute. In total there are about 12,000 negatives of the nineteenth century, made by Laurent and his hired photographers. Among the stereoscopic negatives (13 x 18 cm format) there are 78 views of Portugal, mainly from Lisbon, Batalha, Tomar, Coimbra, Porto, Setúbal and Évora. Other interesting negatives of Portugal are twelve glass plates in the gigantic panoramic format of 27 x 60 centimeters. However, most of the conserved negatives in Portugal are of the standard 27 x 36 cm format. All positive copies were obtained by contact, at the same size by trimming the edges. Albumen paper copies were mounted on separate cards or in albums. As of 1875, Laurent’s company was named J. Laurent y Compañía.Item Protecting and exploiting photography through intellectual property in the long nineteenth-century britain(CICANT, 2020) Pritchard, MichaelThis paper presents a broad survey examining how the photographic industry in Britain used the patent system, trade-mark and design registration systems to protect and exploit inventions during the nineteenth and early twentieth centuries. It looks at how patents were perceived by the industry, how manufacturers and retailers exploited them, and wider issues which surrounded them, all of which received extensive coverage in the pages of the contemporary photographic press. It does not look at copyright protection for photographs which evolved separately.