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題名 探討虛擬實境敘事中的規範以及方法
Investigating methods and principals for VR storytelling
作者 林謙耘
Lin, Chien-Yun
貢獻者 余能豪<br>陳宜秀
Yu, Neng-Hao<br>Chen, Yihsiu
林謙耘
Lin, Chien-Yun
關鍵詞 虛擬實境
敘事原則
故事架構
影片分析
Virtual reality
Principles of storytelling
A structure of a story
Analysis of video contents
日期 2019
上傳時間 3-Oct-2019 17:21:21 (UTC+8)
摘要 虛擬實境作為一個新媒體，尚未有特定的方式來定義該如何呈現故事。為
了探究該如何在虛擬實境中敘事，本研究依據現有的虛擬實境影片，歸納出觀者角色、提升故事體驗的互動、region-of-interest (ROI) 設定以及注意力引導這四個大方向分析現有影片，並整理出虛擬實境中的敘事原則。在虛擬實境當中，觀者可以從角色或是旁觀者的視點觀賞故事，不同的視點會產生不同的情緒反應。互動除了可以連結觀者以及故事世界，也提升了觀者在該世界中的存在感。而不同的ROI 設定則會導致觀者不同的觀看行為，例如：將ROI 放在觀者眼前能幫助他們持續專注於故事上，反之亦然。注意力引導在虛擬實境中是不可或缺的，好的引導能提升整體的觀看體驗，也能防止觀者錯過重要的故事點。接著，我們根據這些原則，設計出一個製作VR 影片的敘事架構，其中包含三個步驟：視角設定、事件設定以及轉場設定。我們期望這個架構能協助VR導演帶領觀者進入敘事情境，並達成其敘事目的。
Virtual reality is a new narrative medium, yet there are still no specific principles by which a story can be better presented. To investigate methods and principles of storytelling in virtual reality, this thesis proposes four dimensions derived from analysis of existing papers and VR works. They are the sense of agency, interactivity, setting of region-of-interest (ROI) and attention guidance. In VR, the spectators can play the role of a main character or a bystander, and their perspectives can change how they experience emotions. Interactivity is a way to create connections between the spectators and the story, enhancing the sense of presence. The arrangement of ROIs determines the spectators’ watching behaviors. A well-designed attention guidance prevents the spectators from missing important events. According to these principles, we propose a framework of producing story content in VR that includes three phases: perspectives setting, events setting and transition setting. It is the objective of this thesis that this framework can assist the directors of VR content to further engage the spectators with the story.
參考文獻 陳一平. (2011). 視覺心理學: 雙葉書廊.
Ahn, S. J. G., Bostick, J., Ogle, E., Nowak, K. L., McGillicuddy, K. T., & Bailenson, J. N. (2016). Experiencing Nature: Embodying Animals in Immersive Virtual Environments Increases Inclusion of Nature in Self and Involvement With Nature. Journal of Computer-Mediated Communication, 21(6), 399-419. doi:10.1111/jcc4.12173
Aylett, R., & Louchart, S. (2003). Towards a narrative theory of virtual reality. Virtual Reality, 7(1), 2-9.
Barrett, F., & Doyle, M. (Writers). (2009). Tunnel 228 [Play]. In Punchdrunk & The Old Vic. (Producer).
Barrett, F., & Doyle, M. (Writers). (2011). Sleep No More [Play]. In Punchdrunk (Producer).
Beddoe-Stephens, P. (2016). New Publisher Tools for 360 Video. Retrieved from https://www.facebook.com/facebookmedia/blog/new-publisher-tools-for-360-video
Bouko, C. (2014). Interactivity and immersion in a media-based performance. PARTICIP@ TIONS, 11(1), 254-269.
Brillhart, J. (2016). The Language of VR. Retrieved from https://medium.com/the-language-ofvr
Bucher, J. (2017). Storytelling for virtual reality: methods and principles for crafting immersive narratives: Focal Press.
De la Peña, N., Weil, P., Llobera, J., Giannopoulos, E., Pomés, A., Spanlang, B., . . . Slater, M. (2010). Immersive journalism: immersive virtual reality for the first-person experience of news. Presence: Teleoperators and virtual environments, 19(4), 291-301.
Giannetti, L. D., & Leach, J. (1999). Understanding movies (Vol. 1): Prentice Hall Upper Saddle River, New Jersey.
Gugenheimer, J., Wolf, D., Haas, G., Krebs, S., & Rukzio, E. (2016). SwiVRChair. Paper presented at the Proceedings of the 2016 CHI Conference on Human Factors in Computing Systems - CHI`16.
Hettinger, L. J., & Riccio, G. E. (1992). Visually induced motion sickness in virtual environments. Presence: Teleoperators & Virtual Environments, 1(3), 306-310.
Jun, J., Jung, M., Kim, S.-Y., & Kim, K. (2018). Full-Body Ownership Illusion Can Change Our Emotion. Paper presented at the Proceedings of the 2018 CHI Conference on Human Factors in Computing Systems - CHI `18.
Kondo, R., Sugimoto, M., Minamizawa, K., Hoshi, T., Inami, M., & Kitazaki, M. (2018). Illusory body ownership of an invisible body interpolated between virtual hands and feet via visual-motor
synchronicity. Scientific reports, 8(1), 7541.
Lin, J.-W., Duh, H. B.-L., Parker, D. E., Abi-Rached, H., & Furness, T. A. (2002). Effects of field of view on presence, enjoyment, memory, and simulator sickness in a virtual environment. Paper presented at the Proceedings ieee virtual reality 2002.
Lin, Y.-C., Chang, Y.-J., Hu, H.-N., Cheng, H.-T., Huang, C.-W., & Sun, M. (2017). Tell Me Where to Look. Paper presented at the Proceedings of the 2017 CHI Conference on Human Factors in Computing Systems - CHI `17.
Lin, Y.-T., Liao, Y.-C., Teng, S.-Y., Chung, Y.-J., Chan, L., & Chen, B.-Y. (2017). Outside-In. Paper presented at the Proceedings of the 30th Annual ACM Symposium on User Interface Software and Technology - UIST `17.
McKee, R. (1997). Substance, structure, style, and the principles of screenwriting.
Milk, C. (2015). How virtual reality can create the ultimate empathy machine. Retrieved from http://milk.co/ted2015
Oculus, V. (2016). LLC. 2016. Oculus Best Practices. In: Technical Report.
Oculus, V. (2017). Oculus Best Practices. Retrieved from
https://developer.oculus.com/design/latest/concepts/book-bp/
Pavel, A., Hartmann, B., & Agrawala, M. (2017). Shot Orientation Controls for Interactive Cinematography with 360 Video. Paper presented at the Proceedings of the 30th Annual ACM Symposium on User Interface Software and Technology - UIST `17.
Peck, T. C., Seinfeld, S., Aglioti, S. M., & Slater, M. (2013). Putting yourself in the skin of a black avatar reduces implicit racial bias. Conscious Cogn, 22(3), 779-787. Retrieved from https://www.ncbi.nlm.nih.gov/pubmed/23727712.
doi:10.1016/j.concog.2013.04.016
Prothero, J. D., & Parker, D. E. (2003). A Unified Approach to Presence and Motion Sickness. Virtual and adaptive environments: Applications, implications, and human performance issues, 47.
Rothe, S., Hußmann, H., & Allary, M. (2017). Diegetic cues for guiding the viewer in cinematic virtual reality. Paper presented at the Proceedings of the 23rd ACM Symposium on Virtual Reality Software and Technology - VRST `17.
Ryan, M.-L. (2001). Narrative as virtual reality. Immersion and Interactivity in Literature.
Serrano, A., Sitzmann, V., Ruiz-Borau, J., Wetzstein, G., Gutierrez, D., & Masia, B. (2017). Movie editing and cognitive event segmentation in virtual reality video. ACM Transactions on Graphics, 36(4), 1-12. doi:10.1145/3072959.3073668
Sheikh, A., Brown, A., Watson, Z., & Evans, M. (2016). Directing attention in 360-degree video.
Shin, D. (2018). Empathy and embodied experience in virtual environment: To what extent can virtual reality stimulate empathy and embodied experience? Computers in Human Behavior, 78, 64-73. doi:10.1016/j.chb.2017.09.012
Sitzmann, V., Serrano, A., Pavel, A., Agrawala, M., Gutierrez, D., Masia, B., & Wetzstein, G. (2018). Saliency in VR: How Do People Explore Virtual Environments? IEEE Trans Vis Comput Graph, 24(4), 1633-1642. Retrieved from https://www.ncbi.nlm.nih.gov/pubmed/29553930.
doi:10.1109/TVCG.2018.2793599
Slater, M., & Usoh, M. (1994). Body centred interaction in immersive virtual environments. Artificial life and virtual reality, 1(1994), 125-148.
Unseld, S. (2015). 5 Lessons Learned While Making Lost. Retrieved from https://www.oculus.com/story-studio/blog/5-lessons-learned-while-makinglost/
White, G. (2012). On immersive theatre. Theatre Research International, 37(3), 221-235.
Xiao, R., & Benko, H. (2016). Augmenting the Field-of-View of Head-Mounted Displays with Sparse Peripheral Displays. Paper presented at the Proceedings of the 2016 CHI Conference on Human Factors in Computing Systems - CHI `16.
描述 碩士
國立政治大學
數位內容碩士學位學程
106462001
資料來源 http://thesis.lib.nccu.edu.tw/record/#G0106462001
資料類型 thesis
dc.contributor.advisor 余能豪<br>陳宜秀zh_TW
dc.contributor.advisor Yu, Neng-Hao<br>Chen, Yihsiuen_US
dc.contributor.author (Authors) 林謙耘zh_TW
dc.contributor.author (Authors) Lin, Chien-Yunen_US
dc.creator (作者) 林謙耘zh_TW
dc.creator (作者) Lin, Chien-Yunen_US
dc.date (日期) 2019en_US
dc.date.accessioned 3-Oct-2019 17:21:21 (UTC+8)-
dc.date.available 3-Oct-2019 17:21:21 (UTC+8)-
dc.date.issued (上傳時間) 3-Oct-2019 17:21:21 (UTC+8)-
dc.identifier (Other Identifiers) G0106462001en_US
dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/126598-
dc.description (描述) 碩士zh_TW
dc.description (描述) 國立政治大學zh_TW
dc.description (描述) 數位內容碩士學位學程zh_TW
dc.description (描述) 106462001zh_TW
dc.description.abstract (摘要) 虛擬實境作為一個新媒體，尚未有特定的方式來定義該如何呈現故事。為
了探究該如何在虛擬實境中敘事，本研究依據現有的虛擬實境影片，歸納出觀者角色、提升故事體驗的互動、region-of-interest (ROI) 設定以及注意力引導這四個大方向分析現有影片，並整理出虛擬實境中的敘事原則。在虛擬實境當中，觀者可以從角色或是旁觀者的視點觀賞故事，不同的視點會產生不同的情緒反應。互動除了可以連結觀者以及故事世界，也提升了觀者在該世界中的存在感。而不同的ROI 設定則會導致觀者不同的觀看行為，例如：將ROI 放在觀者眼前能幫助他們持續專注於故事上，反之亦然。注意力引導在虛擬實境中是不可或缺的，好的引導能提升整體的觀看體驗，也能防止觀者錯過重要的故事點。接著，我們根據這些原則，設計出一個製作VR 影片的敘事架構，其中包含三個步驟：視角設定、事件設定以及轉場設定。我們期望這個架構能協助VR導演帶領觀者進入敘事情境，並達成其敘事目的。		zh_TW
dc.description.abstract (摘要) Virtual reality is a new narrative medium, yet there are still no specific principles by which a story can be better presented. To investigate methods and principles of storytelling in virtual reality, this thesis proposes four dimensions derived from analysis of existing papers and VR works. They are the sense of agency, interactivity, setting of region-of-interest (ROI) and attention guidance. In VR, the spectators can play the role of a main character or a bystander, and their perspectives can change how they experience emotions. Interactivity is a way to create connections between the spectators and the story, enhancing the sense of presence. The arrangement of ROIs determines the spectators’ watching behaviors. A well-designed attention guidance prevents the spectators from missing important events. According to these principles, we propose a framework of producing story content in VR that includes three phases: perspectives setting, events setting and transition setting. It is the objective of this thesis that this framework can assist the directors of VR content to further engage the spectators with the story.en_US
dc.description.tableofcontents 中文摘要 3
Abstract 4
Table of Contents 5
List of Tables 7
List of Figures 8
Chapter 1 Introduction 14
Chapter 2 Related Work 16
2.1 Forms of narrative in VR and other media 16
2.2 The sense of agency in VR 17
2.2.1 Viewer as a character 17
2.2.2 Viewer as a bystander 19
2.3 Interactivity 20
2.3.1 Exploring the virtual world 21
2.3.2 Interacting with characters 22
2.3.3 Manipulating objects 24
2.4 Setting of the ROIs 25
2.4.1 Amounts of ROI 25
2.4.2 Position of ROI 26
2.4.3 Passive movement of the viewer 30
2.5 Attention guidance 32
2.5.1 Visual selective attention 32
2.5.2 Guidance by natural visual cues 33
2.5.3 Guidance by artificial visual cues 35
2.5.4 Guidance by audio cues 36
2.5.5 Guidance by reorienting ROIs 37
2.6 Summary 38
Chapter 3 A framework of making stories in VR 41
3.1 Step 1: Decide the viewer’s perspective 41
3.2 Step 2: Create events 42
3.2.1 Opening 42
3.2.2 Performance of characters 44
3.2.3 Conversation between characters 45
3.2.4 Interacting with characters 46
3.2.5 Manipulating objects 47
3.3 Step 3: Make transitions between events 49
3.4 Review “Crow: The Legend” 52
3.5 Summary 64
Chapter 4 Discussion 66
4.1 The fundamental questions in Virtual Reality 66
4.2 Applicable techniques from other media 67
4.3 Differences between game interactivity and narrative interactivity 67
Chapter 5 Conclusion 69
Reference 71
Videos references 74		zh_TW
dc.format.extent 130342923 bytes-
dc.format.mimetype application/pdf-
dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0106462001en_US
dc.subject (關鍵詞) 虛擬實境zh_TW
dc.subject (關鍵詞) 敘事原則zh_TW
dc.subject (關鍵詞) 故事架構zh_TW
dc.subject (關鍵詞) 影片分析zh_TW
dc.subject (關鍵詞) Virtual realityen_US
dc.subject (關鍵詞) Principles of storytellingen_US
dc.subject (關鍵詞) A structure of a storyen_US
dc.subject (關鍵詞) Analysis of video contentsen_US
dc.title (題名) 探討虛擬實境敘事中的規範以及方法zh_TW
dc.title (題名) Investigating methods and principals for VR storytellingen_US
dc.type (資料類型) thesisen_US
dc.relation.reference (參考文獻) 陳一平. (2011). 視覺心理學: 雙葉書廊.
Ahn, S. J. G., Bostick, J., Ogle, E., Nowak, K. L., McGillicuddy, K. T., & Bailenson, J. N. (2016). Experiencing Nature: Embodying Animals in Immersive Virtual Environments Increases Inclusion of Nature in Self and Involvement With Nature. Journal of Computer-Mediated Communication, 21(6), 399-419. doi:10.1111/jcc4.12173
Aylett, R., & Louchart, S. (2003). Towards a narrative theory of virtual reality. Virtual Reality, 7(1), 2-9.
Barrett, F., & Doyle, M. (Writers). (2009). Tunnel 228 [Play]. In Punchdrunk & The Old Vic. (Producer).
Barrett, F., & Doyle, M. (Writers). (2011). Sleep No More [Play]. In Punchdrunk (Producer).
Beddoe-Stephens, P. (2016). New Publisher Tools for 360 Video. Retrieved from https://www.facebook.com/facebookmedia/blog/new-publisher-tools-for-360-video
Bouko, C. (2014). Interactivity and immersion in a media-based performance. PARTICIP@ TIONS, 11(1), 254-269.
Brillhart, J. (2016). The Language of VR. Retrieved from https://medium.com/the-language-ofvr
Bucher, J. (2017). Storytelling for virtual reality: methods and principles for crafting immersive narratives: Focal Press.
De la Peña, N., Weil, P., Llobera, J., Giannopoulos, E., Pomés, A., Spanlang, B., . . . Slater, M. (2010). Immersive journalism: immersive virtual reality for the first-person experience of news. Presence: Teleoperators and virtual environments, 19(4), 291-301.
Giannetti, L. D., & Leach, J. (1999). Understanding movies (Vol. 1): Prentice Hall Upper Saddle River, New Jersey.
Gugenheimer, J., Wolf, D., Haas, G., Krebs, S., & Rukzio, E. (2016). SwiVRChair. Paper presented at the Proceedings of the 2016 CHI Conference on Human Factors in Computing Systems - CHI`16.
Hettinger, L. J., & Riccio, G. E. (1992). Visually induced motion sickness in virtual environments. Presence: Teleoperators & Virtual Environments, 1(3), 306-310.
Jun, J., Jung, M., Kim, S.-Y., & Kim, K. (2018). Full-Body Ownership Illusion Can Change Our Emotion. Paper presented at the Proceedings of the 2018 CHI Conference on Human Factors in Computing Systems - CHI `18.
Kondo, R., Sugimoto, M., Minamizawa, K., Hoshi, T., Inami, M., & Kitazaki, M. (2018). Illusory body ownership of an invisible body interpolated between virtual hands and feet via visual-motor
synchronicity. Scientific reports, 8(1), 7541.
Lin, J.-W., Duh, H. B.-L., Parker, D. E., Abi-Rached, H., & Furness, T. A. (2002). Effects of field of view on presence, enjoyment, memory, and simulator sickness in a virtual environment. Paper presented at the Proceedings ieee virtual reality 2002.
Lin, Y.-C., Chang, Y.-J., Hu, H.-N., Cheng, H.-T., Huang, C.-W., & Sun, M. (2017). Tell Me Where to Look. Paper presented at the Proceedings of the 2017 CHI Conference on Human Factors in Computing Systems - CHI `17.
Lin, Y.-T., Liao, Y.-C., Teng, S.-Y., Chung, Y.-J., Chan, L., & Chen, B.-Y. (2017). Outside-In. Paper presented at the Proceedings of the 30th Annual ACM Symposium on User Interface Software and Technology - UIST `17.
McKee, R. (1997). Substance, structure, style, and the principles of screenwriting.
Milk, C. (2015). How virtual reality can create the ultimate empathy machine. Retrieved from http://milk.co/ted2015
Oculus, V. (2016). LLC. 2016. Oculus Best Practices. In: Technical Report.
Oculus, V. (2017). Oculus Best Practices. Retrieved from
https://developer.oculus.com/design/latest/concepts/book-bp/
Pavel, A., Hartmann, B., & Agrawala, M. (2017). Shot Orientation Controls for Interactive Cinematography with 360 Video. Paper presented at the Proceedings of the 30th Annual ACM Symposium on User Interface Software and Technology - UIST `17.
Peck, T. C., Seinfeld, S., Aglioti, S. M., & Slater, M. (2013). Putting yourself in the skin of a black avatar reduces implicit racial bias. Conscious Cogn, 22(3), 779-787. Retrieved from https://www.ncbi.nlm.nih.gov/pubmed/23727712.
doi:10.1016/j.concog.2013.04.016
Prothero, J. D., & Parker, D. E. (2003). A Unified Approach to Presence and Motion Sickness. Virtual and adaptive environments: Applications, implications, and human performance issues, 47.
Rothe, S., Hußmann, H., & Allary, M. (2017). Diegetic cues for guiding the viewer in cinematic virtual reality. Paper presented at the Proceedings of the 23rd ACM Symposium on Virtual Reality Software and Technology - VRST `17.
Ryan, M.-L. (2001). Narrative as virtual reality. Immersion and Interactivity in Literature.
Serrano, A., Sitzmann, V., Ruiz-Borau, J., Wetzstein, G., Gutierrez, D., & Masia, B. (2017). Movie editing and cognitive event segmentation in virtual reality video. ACM Transactions on Graphics, 36(4), 1-12. doi:10.1145/3072959.3073668
Sheikh, A., Brown, A., Watson, Z., & Evans, M. (2016). Directing attention in 360-degree video.
Shin, D. (2018). Empathy and embodied experience in virtual environment: To what extent can virtual reality stimulate empathy and embodied experience? Computers in Human Behavior, 78, 64-73. doi:10.1016/j.chb.2017.09.012
Sitzmann, V., Serrano, A., Pavel, A., Agrawala, M., Gutierrez, D., Masia, B., & Wetzstein, G. (2018). Saliency in VR: How Do People Explore Virtual Environments? IEEE Trans Vis Comput Graph, 24(4), 1633-1642. Retrieved from https://www.ncbi.nlm.nih.gov/pubmed/29553930.
doi:10.1109/TVCG.2018.2793599
Slater, M., & Usoh, M. (1994). Body centred interaction in immersive virtual environments. Artificial life and virtual reality, 1(1994), 125-148.
Unseld, S. (2015). 5 Lessons Learned While Making Lost. Retrieved from https://www.oculus.com/story-studio/blog/5-lessons-learned-while-makinglost/
White, G. (2012). On immersive theatre. Theatre Research International, 37(3), 221-235.
Xiao, R., & Benko, H. (2016). Augmenting the Field-of-View of Head-Mounted Displays with Sparse Peripheral Displays. Paper presented at the Proceedings of the 2016 CHI Conference on Human Factors in Computing Systems - CHI `16.		zh_TW
dc.identifier.doi (DOI) 10.6814/NCCU201901197en_US