虛擬實境實拍電影之攝影與觀眾接收研究－以「情緒氛圍」片段為例
Abstract
近年來，虛擬實境在大眾中的接受度提高並開始走向商業化，並有越來越多電影相關產業人員及公司開始關注於將虛擬實境技術應用於電影領域，電影與虛擬實境技術的融合成為了傳統投影螢幕電影的重要突破。因電影擁有豐富的視聽覺和敘事元素加上虛擬實境獨特的特性，許多研究已證實虛擬實境電影是比傳統投影螢幕電影誘發更強烈情感體驗的有效媒介。然而，虛擬實境電影迄今為止仍處於實驗階段，目前尚未完全建立與360度虛擬實境電影相關的攝製語法。因此，本研究基於電影攝影，探討應用於虛擬實境實拍電影中情緒氛圍的表現與接收之作用。
本研究首先採文本分析法分析台灣賣座時裝國片《海角七號》、《那些年，我們一起追的女孩》、《我的少女時代》，經歸納後發現正、負向情緒氛圍片段分別主要由親密鏡頭與衝突鏡頭構成，而共同擁有之場次情節有四：一、正向情緒的男女主角曖昧發展時期；二、正向情緒的男主角對女主角表白情節；三、負向的男女主角爭執情節；四、上位者對下位者之羞辱辱罵情節。
再者以其為拍攝內容依據，並以鏡頭遠近、敘事觀點為操作變項，拍攝虛擬實境實拍電影之情緒氛圍片段，後透過問卷調查法蒐集觀者觀看後的接收反應，結果發現在正向情緒氛圍片段中，個人距離的拍攝距離能引發觀者最強烈的情緒反應與存在感；在負向情緒氛圍片段中，引起最強烈情緒與存在感的為親密距離，而主觀鏡頭在所有片段皆產生最大的接收反應。進一步探討情緒反應與存在的關係時發現，存在對於情緒反應存在顯著且正向影響，即當觀者感到越大的存在感時，能觸發越強烈之存在反應。整體結論提供了在拍攝虛擬實境實拍電影時，對於正、負向情緒氛圍之拍攝距離的建議以及敘事觀點的採用以引發更大的接收反應，且應考慮存在的重要性，對於情緒反應具有影響。
In recent years, more and more film-related personnel and companies have begun to focus on the application of virtual reality(VR) technology in the field of movies. Many studies have confirmed that VR movies are effective media that induce stronger emotional experiences than traditional projection screen movies. However, VR movies are still in an experimental stage so far, and the cinematography language related to 360-degree VR movies has not yet been fully established. Therefore, this study explores the performance of emotional atmosphere clips in live-action cinematic VR and the audience’s reception in VR film making using cinematography. The study first uses textual analysis to analyze Taiwan's top-selling fashion films " Cape No. 7", " You Are the Apple of My Eye", and " Our Times". After induction, it is found that the positive and negative emotional atmosphere clips are mainly composed of intimate shots and conflict shots, and there are four identical plot types: 1. Period of ambiguous development of male and female protagonists with positive emotion; 2. The actor confessed to the heroine with positive emotion; 3. The actor quarrels with the heroine with negative emotion; 4. Superiors humiliate inferiors with negative emotions. Then based on the results of textual analysis as the basis of the shooting content, and using the lens distance, point of view as the independent variables, shooting the emotional atmosphere clips of the VR film, and then collected the viewer ’s reception through a questionnaire survey. The results show that in the positive emotional atmosphere clips, the personal distance can trigger the viewer's strongest emotional response and presence; in the negative emotional atmosphere clips, the intimate distance causes the strongest emotion and presence, and the subjective shot produces the greatest reception response in all clips. Examining the relationship between emotional response and presence, it is found that presence has a significant and positive effect on emotional response, that is, when the viewer feels more presence, it can trigger a stronger presence response. The study provides suggestions for the shooting distance of positive and negative emotional atmospheres clips and the use of point of view in order to produce a greater reception response when shooting VR movies.
In recent years, more and more film-related personnel and companies have begun to focus on the application of virtual reality(VR) technology in the field of movies. Many studies have confirmed that VR movies are effective media that induce stronger emotional experiences than traditional projection screen movies. However, VR movies are still in an experimental stage so far, and the cinematography language related to 360-degree VR movies has not yet been fully established. Therefore, this study explores the performance of emotional atmosphere clips in live-action cinematic VR and the audience’s reception in VR film making using cinematography. The study first uses textual analysis to analyze Taiwan's top-selling fashion films " Cape No. 7", " You Are the Apple of My Eye", and " Our Times". After induction, it is found that the positive and negative emotional atmosphere clips are mainly composed of intimate shots and conflict shots, and there are four identical plot types: 1. Period of ambiguous development of male and female protagonists with positive emotion; 2. The actor confessed to the heroine with positive emotion; 3. The actor quarrels with the heroine with negative emotion; 4. Superiors humiliate inferiors with negative emotions. Then based on the results of textual analysis as the basis of the shooting content, and using the lens distance, point of view as the independent variables, shooting the emotional atmosphere clips of the VR film, and then collected the viewer ’s reception through a questionnaire survey. The results show that in the positive emotional atmosphere clips, the personal distance can trigger the viewer's strongest emotional response and presence; in the negative emotional atmosphere clips, the intimate distance causes the strongest emotion and presence, and the subjective shot produces the greatest reception response in all clips. Examining the relationship between emotional response and presence, it is found that presence has a significant and positive effect on emotional response, that is, when the viewer feels more presence, it can trigger a stronger presence response. The study provides suggestions for the shooting distance of positive and negative emotional atmospheres clips and the use of point of view in order to produce a greater reception response when shooting VR movies.
Description
Keywords
虛擬實境實拍電影, 電影攝影, 情緒氛圍, 觀眾接收, Live-action virtual reality, Cinematography, Emotional atmosphere, Audience’s reception