Over the years, filmmaking conventions and grammar have evolved around a fixed two-dimensional frame, and their relationship with the audience in the cinema hall. In Cinematic Virtual Reality (Cine-VR), neither of these references exists. The two-dimensional frame is replaced by a 360-degree visual space, and the audience, as a “user,” can interact and explore the spherical space independently. The freedom for users to look in any direction within the 360-degree space presents unique challenges for filmmakers. Hence, the filmmaking norms and practices, including sound design, need to be re-examined in the context of 360-degree Cine-VR. In the last decade, Scholars have studied various aspects of filmmaking, including sound design and its impact on user experience. However, there is a lack of studies that incorporate diverse users’ perceptions of sound design for Cine-VR compared to film. We conducted a convergent mixed-methods study using an online survey that combined quantitative questions (Likert scale, categorical, and multiple-choice questions) and qualitative open-ended questions. Of the total 256 participants from around the world, this study presents an analysis of a subset of participants (N = 155). Based on their level of experience with film and Cine-VR, the participants are divided into three groups: Creators (n = 73), Professional Users (n = 48), and General Users (n = 34). The statistical analysis is carried out using Microsoft Excel and Python. For the content analysis of qualitative responses, we used ATLAS.ti, along with Excel. The results show that in the absence of a 2D visual frame, there is a “functional shift” in the role of sound from “Convey Emotion” in films to “Guiding Viewers’ Attention” in Cine-VR. However, the effort put in by creators to guide viewers is not acknowledged by the audience and remains “Invisible Labor”. There is also a shift in challenges from production constraints (budget/time) to the technical nature of spatial audio and workflow. Despite this enthusiasm, participants expressed neutral views regarding the future and opportunities for sound design in Cine-VR. Overall, the findings suggest that Cine-VR is a different medium and needs a framework of sound design for an immersive experience.
Chaurasia et al. (Thu,) studied this question.