At almost every stage of the process, virtual reality journalism is presented with tradeoffs that sit on a spectrum of time, cost, and quality.The technology requirements for producing live-motion virtual reality journalism are burdensome, non-synergistic, rapidly evolving, and expensive.A combination of the limits of technology, narrative structure, and journalistic intent determine the degree of agency given to users in a VR experience.The VR medium challenges core journalistic questions evolving from the fourth wall debate, such as “who is the journalist?” and “what does the journalist represent?”.Virtual reality represents a new narrative form, one for which technical and stylistic norms are in their infancy.These findings are detailed in Chapter 4, but can be summarized as: Third, we draw a series of findings from the case study, which together document the opportunities and challenges we see emerging from this new technology. The authors have documented its planning, field production, post-production and distribution, observing the processes and recording the lessons, missteps, and end results. This documentary was a collaboration between Frontline, Secret Location, and the Tow Center for Digital Journalism. Second, we conducted a case study of one of the first documentaries produced for the medium: an ambitious project, shot on location in West Africa with innovative technology and a newly formed team. The authors’ hypothesis is that as the separation shrinks between audiences and news subjects, journalistic records gain new political and social power. Fifty years of research and theory about virtual reality have produced two concepts which are at the core of journalistic virtual reality: immersion, or how enveloped a user is, and presence, or the perception of “being there.” Theorists identify a link between the two greater levels of immersion lead to greater levels of presence. The center’s former research director and current assistant professor at UBC, Taylor Owen, and senior fellow Fergus Pitt embedded themselves within the entire editorial and production process, interviewing participants and working to position the experiment at the forefront of a wider conversation about changes in journalistic practice.įirst, it traces the history of virtual reality, in both theory and practice. The Tow Center for Digital Journalism facilitated the project. PBS’s Frontline, in particular Executive Producer Raney Aronson-Rath, Managing Editor (digital) Sarah Moughty, and filmmaker Dan Edge, led the editorial process and enabled our virtual reality experiment as it was shot alongside an ongoing Frontline feature documentary. CEO James Milward and Creative Director Pietro Gagliano helmed the Secret Location team, which also included nearly a dozen technical experts. The digital media production company Secret Location, a trailblazer in interactive storytelling and live-motion virtual reality, were the project’s production leads, building a prototype 360-degree, stereoscopic camera and spearheading an extensive post-production, development process. To answer this question, we assembled a team of VR experts, documentary journalists, and media scholars to conduct research-based experimentation. The authors of this report wish to explore whether virtual reality can take us farther still. Each of these innovations allowed audiences to more richly experience the lives of others. This new phase of VR places the medium squarely into the tradition of documentary-a path defined by the emergence of still photography and advanced by better picture quality, color, film, and higher-definition video. Two technological advances have enabled this opportunity: cameras that can record a scene in 360-degree, stereoscopic video and a new generation of headsets. It promises to bring audiences closer to a story than any previous platform. For journalists, the combination of immersive video capture and dissemination via mobile VR players is particularly exciting. After decades of research and development, virtual reality appears to be on the cusp of mainstream adoption.
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