Attractive Visuality Generation Within the 360˚-VR Video Format as a Technological Trend in Modern Film Production

Abstract

The aim of the article is to study the features of the process of attractive visuality generation within the 360˚-VR video format. Results. A comprehensive consideration of the issue with the use of general scientific and special methods (problem-logical, theoretical-informational, art studies, comparative analysis, the method of analogy, abstraction, induction, and deduction) demonstrates that one of the key trends in modern film production is the creation of a “multinarrative space” (A. G. Iñárritu) VR-immersion of the viewer as a recipient and co-creator of this space, accompanied by the transformation of the film into a visually attractive activity and transformation principles of film aesthetics in the 20th century. Scientific novelty. It is proved that the 360˚-VR video format is a unique audiovisual form that requires a special grammatical, technical and technological base (professional or amateur 360˚ camera, effective tools for creating and editing 360˚video content for the different platforms, Kolor Autopano Video Pro, SIFT algorithm, etc.) thus, brings the use of the immersion principle to a qualitatively new level. Conclusions. Due to this, attractive visuality is becoming possible in the quality of a new aesthetic and perceptual-virtual experience that is being formed under the influence of VR-attractions and modern special effects in the digital cinematograph. It leads to the synthesis between cinematograph and theatre when the transition is occurring from montage sequence to virtual-theatrical play where in consequence of 360˚-VR the action has been developing constantly, and the viewer is in the very centre of the events. Thereby, there are grounds to confirm that, including technological development and measureless creative possibilities in the process of projecting different VR-attractions, it is possible for a viewer’s infinite immersion in the space of a digital film; that, from one side, transforms film language on the modern stage, creating the perspectives of the further branch development, and from another side, it conditions a number of psychological problems and risks connected with the viewers’ reaction on a different level of density of the attractive field of modified film language.