Virtual reality filmaking

Analysis of Queerskins: A love story, an approach to volumetric cinema.

Authors

DOI:

https://doi.org/10.5281/zenodo.7654912

Keywords:

Volumetric cinema, virtual reality, interactivity, filmmaking, VR cinematography

Abstract

Currently, virtual reality technology offers to the audiovisual industry new ways of telling stories. One of the techniques that enables video image recording and its implementation in 3D virtual environments is volumetric capture, which raises an approach between conventional cinema methods and those of fictional audiovisual discourses for VR. In this context, we carry out a previous bibliographical review, to address the study of the applicability of traditional production techniques to virtual reality productions. Subsequently, we designed an analysis model for this type of work, based on the concepts of Heeter (1992), Slater and Wilbur (1997), which is based on the effect of presence as a basis for the immersion of the spectator in the diegetic universe of the VR artworks. The exposed results are obtained after analyzing Queerskins: a love story (Szilak and Tsiboulsk, 2018), one of the first virtual reality short films with volumetric filmmaking.

Author Biographies

Martínez Cano, F. J., Miguel Hernández Unversity

(1983) He is a Doctor of Fine Arts and professor at the Miguel Hernández University (UMH). Since 2006, his artistic career has focused on the mixture of science and art to generate new visual discourses. As a researcher, he studies and analyzes virtual reality and augmented reality technologies and their hybridization with cinema and videogames, for the creation of new audiovisual entertainment products, paying attention to contemporary transmediatization phenomena and the mass media. He has held national and international exhibitions, including his participation in the exhibitions Condition of Possibility, Palace of the Counts of Gabia in Granada (2005), IX UPV-BBVA Audiovisual Exhibition, Bilbao (2006). The exhibition Gabinete de Papeles, at the Museum of Contemporary Art in Elche (2011), the Terrorismo de Masses project (2014), Centro 14 in Alicante, and its participation in the Miami New Media Festival 2019 and Miami Art Week 2019 with the audiovisual work ALC-SKG. He is a member of the OCAP research group, whose objectives are the study of the audiovisual image and the communicative functions of emerging media. He has been visiting professor at the University of Beira Interior (Portugal), at the University of Evora (Portugal), at the Plymouth College of Art, Plymouth (United Kingdom) and at the University of the Californias International, Tijuana (Mexico).

Emilio Roselló Tormo, Miguel Hernández Unversity

He is a Doctor of Fine Arts and full professor at the Miguel Hernández University (UMH). He studied at the Polytechnic University of Valencia, where he received his doctorate in Fine Arts (1994) with research on virtual image animation. His research career has been developed as an artistic activity since the 1990s through the conceptualization of image, representation and communication. From electrography. digital photography, and the synthesis image, he has elaborated in praxis different conceptual and narrative discourses about the image as thought. In the last decade he focuses more on conceptual photography; photography reflects on itself and on the photographic fact from the specific language of the so-called post-photographic era. From 2001 to the present he is the IP of the OCAP research group, a space-place for multilateral observation that focuses its interest on the study of the visual and audiovisual image, and on the exploration of the communicative functions that the new emerging media apply with versatility. He is a member of the international collective Contemporáneos in whose context he develops independent photographic projects and collective series. He was principal investigator of the Map of Memory project, financed by the Victims of Terrorism Foundation, the Alicante Provincial Council, the Juan Gil-Albert Institute of Culture, and the Mediterranean Savings Bank CAM, Obra Social. He was IP of the Laboratory of Ideas, Design and Innovation IDI Lab, financed by the research program of Bancaja.

References

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Fox, K. (productor) y Szilak, I. (director). (2018). Queerskins: a Love Story [Cinta Cinematográfica de Realidad Virtual]. USA: Cloudred Lab / Fancy Rainbow Productions.

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Francisco amd Emilio Portraits

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Published

2020-07-01

How to Cite

Martínez Cano, F. J., & Roselló Tormo, E. (2020). Virtual reality filmaking: Analysis of Queerskins: A love story, an approach to volumetric cinema. ASRI. Art and Society. Journal for Research in Arts and Digital Humanities, (18), 118–133. https://doi.org/10.5281/zenodo.7654912

Issue

No. 18 (2020): Paradigms of Audiovisual Narrative

Section

Artículos

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