As technology continues to advance, virtual reality (VR) technology has begun to play an increasingly important role in the film industry. It not only brings new narrative techniques and visual effects to film production, but also reshapes the way directors interact with their audiences. However, the production of VR films also faces considerable challenges and its market potential has yet to be developed. This paper will adopt the writing technique of comparative analysis to explore the new boundaries of VR filmmaking.
Firstly, traditional films tell stories through camera language and linear narratives, and the audience’s perspective is limited by the director’s choice of camera. Although the audience is able to experience the emotional and visual impact of the story, it is always as a spectator. Virtual reality films, on the other hand, provide audiences with a new narrative and visual experience. In a VR film, viewers can immerse themselves in the world of the film and observe their surroundings in 360 degrees without any dead angles. They can choose their own perspective and point of attention, and even in some interactive VR films, the audience’s choices can influence the story. This fully immersive experience allows the audience to change from the traditional sense of “viewer” to “participant” in the story.
Secondly, from the point of view of the interaction between the director and the audience, the interaction of traditional film is relatively limited, the director conveys his artistic concept and emotion through the film, and the audience is the receiver. In virtual reality films, the interaction between the director and the audience becomes more direct and personalised, and the application of VR technology makes it possible to adjust the content of the film according to the audience’s reactions and interactions, and even realise the interaction between the audience and the characters of the film, which greatly enhances the audience’s sense of participation and immersion. This increased interactivity not only provides directors with more creative possibilities, but also brings audiences a more colourful viewing experience.
However, the production of virtual reality films faces more challenges than traditional films. On the technical level, VR films need to be shot with special camera equipment, and the post-production editing and special effects are much more complex than traditional films. In addition, since VR films require viewers to use specific headset devices, this limits the range of viewing venues and audience choices. At the same time, the scripting and narrative structure of VR films need to be reconceptualised to accommodate the audience’s freedom of exploration in the virtual environment.
In terms of market potential, virtual reality films are still in their infancy, and their market size and profit model are not as mature as traditional films. However, with the continuous development and popularisation of VR technology and consumers’ pursuit of fresh experiences, the market potential of VR films cannot be ignored. It may attract a group of viewers seeking a new type of viewing experience, especially the younger group who have already had experience in the gaming and entertainment field.
In summary, virtual reality filmmaking opens up new boundaries in the film industry, and it is significantly different from traditional films in terms of narrative and visual experience, director-audience interaction, and production challenges and market potential. Despite the challenges of technology, market and audience acceptance, its unique immersive experience and interactivity make it a new trend in the film industry that cannot be ignored. As the technology matures and the market is cultivated, VR films are expected to become an important branch of film and television entertainment in the future.
