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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/jcc4.12173Aylett, 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-videoBouko, 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-ofvrBucher, 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-motorsynchronicity. 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/ted2015Oculus, V. (2016). LLC. 2016. Oculus Best Practices. In: Technical Report.Oculus, V. (2017). Oculus Best Practices. Retrieved fromhttps://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.2013.04.016Prothero, 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:10.1145/3072959.3073668Sheikh, 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.2017.09.012Sitzmann, 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.2018.2793599Slater, 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, Yihsiu en_US dc.contributor.author (Authors) 林謙耘 zh_TW dc.contributor.author (Authors) Lin, Chien-Yun en_US dc.creator (作者) 林謙耘 zh_TW dc.creator (作者) Lin, Chien-Yun en_US dc.date (日期) 2019 en_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) G0106462001 en_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) 106462001 zh_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 3Abstract 4Table of Contents 5List of Tables 7List of Figures 8Chapter 1 Introduction 14Chapter 2 Related Work 162.1 Forms of narrative in VR and other media 162.2 The sense of agency in VR 172.2.1 Viewer as a character 172.2.2 Viewer as a bystander 192.3 Interactivity 202.3.1 Exploring the virtual world 212.3.2 Interacting with characters 222.3.3 Manipulating objects 242.4 Setting of the ROIs 252.4.1 Amounts of ROI 252.4.2 Position of ROI 262.4.3 Passive movement of the viewer 302.5 Attention guidance 322.5.1 Visual selective attention 322.5.2 Guidance by natural visual cues 332.5.3 Guidance by artificial visual cues 352.5.4 Guidance by audio cues 362.5.5 Guidance by reorienting ROIs 372.6 Summary 38Chapter 3 A framework of making stories in VR 413.1 Step 1: Decide the viewer’s perspective 413.2 Step 2: Create events 423.2.1 Opening 423.2.2 Performance of characters 443.2.3 Conversation between characters 453.2.4 Interacting with characters 463.2.5 Manipulating objects 473.3 Step 3: Make transitions between events 493.4 Review “Crow: The Legend” 523.5 Summary 64Chapter 4 Discussion 664.1 The fundamental questions in Virtual Reality 664.2 Applicable techniques from other media 674.3 Differences between game interactivity and narrative interactivity 67Chapter 5 Conclusion 69Reference 71Videos 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/#G0106462001 en_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 reality en_US dc.subject (關鍵詞) Principles of storytelling en_US dc.subject (關鍵詞) A structure of a story en_US dc.subject (關鍵詞) Analysis of video contents en_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 storytelling en_US dc.type (資料類型) thesis en_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/jcc4.12173Aylett, 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-videoBouko, 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-ofvrBucher, 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-motorsynchronicity. 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/ted2015Oculus, V. (2016). LLC. 2016. Oculus Best Practices. In: Technical Report.Oculus, V. (2017). Oculus Best Practices. Retrieved fromhttps://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.2013.04.016Prothero, 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:10.1145/3072959.3073668Sheikh, 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.2017.09.012Sitzmann, 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.2018.2793599Slater, 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/NCCU201901197 en_US
