ABSTRACT
While it would be understandable to view cine-VR as simply another form of filmmaking to which the same amalgamation of techniques and visual literacy would apply, the differences in both how cine-VR is created and experienced are substantial enough that a new language for these techniques must also be considered. A variety of cameras can be used to create cine-VR images, including traditional cinema cameras in conjunction with panorama heads. However, many of the early models including the most popular 360° cameras have exhibited curious limitations such as fixed apertures and lack of appropriate monitoring systems. Camera placement and techniques for lighting a cine-VR space are explored, as is the importance of ambisonic sound recording to bolster the story's visuals. Postproduction challenges unique to cine-VR include the art of plating certain aspects of the 360° environment, mixing ambisonic audio, and the complexity of file management. The ability of non-linear editing systems to control the audience's orientation is also explored.
