IMMERSIVE VIDEO PRODUCTION Project 2
ZHOU YUTONG / 0378676
Week3---Week7 (4/5/2026---7//2026)
IMMERSIVE VIDEO PRODUCTION/ Bachelor of Design (Honours) in Creative Media
Project 2
TABLE OF CONTENT
INSTRUCTIONS
The differences between 360° panoramic videos and traditional videos were compared: Traditional videos rely on fixed frames, classic three-act narratives, conventional shots, editing, stereo sound, and techniques that guide the viewpoint; these methods are not suitable for 360° videos.
The core of 360° videos lies in immersive experiences, rather than traditional narrative modes; their story structure and creative concepts need to be redefined and approached with entirely new thinking.
This part talks about the core thinking for creating 360 and VR videos, focusing on agency, presence and immersion. Viewers become active participants, so the setting (where) matters as much as characters and motives. The plot is designed for audience experience, and linear timelines are recommended in the early exploration of 360 video production.
This section focuses on idea development for 360 videos. Creators act as experience providers. It requires defining target audiences, referring to relevant materials and examining whether traditional cause-and-effect narration works. Short dramas are ideal for 360 videos as they evoke empathy and fear to achieve emotional catharsis. Creators can use checklists and write synopses during development.
This part introduces step-by-step ideation for 360 videos. Three recommended genres are thriller, drama and comedy horror, each with distinct features. For the first 360 video project, creators need to pick one genre, with limits: no longer than 3 minutes, 1-2 scenes and at most two main characters. The priority is to build an experiential world, as immersion is mainly a psychological experience.
This content covers visualization for 360 videos. Creators need to plan editing and stitching in advance. Camera placement focuses on viewing experience, and blocking replaces traditional composition.
Visual and spatial sound cues can guide audiences to Points of Interest (POI). Viewers pay most attention to areas 3 to 5 meters away. Usually only one POI is used at a time. A POI shift over 90 degrees makes viewers look around, and transition between POIs needs buffer time. Confusing motion signals cause motion sickness.
Quiz answers: Stitching definition is True; Framing is not a way to guide POI.
PROJECT
For Project 2, my initial idea was to shoot a heartwarming video. The story was roughly about a girl walking, slipping on a banana peel and falling, and her friends running to help her get up. Based on this idea, I shot the initial video.
Scene 1: A girl is greeting her friend. She runs quickly but doesn't see the banana peel on the ground, so she falls and screams.
Scene 2: The little girl crouches on the ground. People sitting nearby quickly run to her, then her friend, and finally a hesitant girl. Together, they help the girl up.
Scene 3: The girl and her friend continue walking, but they don't notice the hesitant girl throwing another banana peel. The girl falls again, her phone flying out of her hand. Seeing the girl fall, the girl who threw the banana peel lets out a wicked laugh.
For the video editing, I used classic music from Chaplin's silent films to transform a heartwarming story into a dramatic one.
Final outcome
FEEDEEDBACK
When the first video was edited, Martin thought it was just a simple video and not a 360-degree video. He told me I needed to understand the difference between a 360-degree video and a regular video, and the important Points of Interest (POIs). He also thought that for my video, it would be better if I could capture the girl throwing the banana peel with her mischievous smile, and that when the three girls ran towards me, they shouldn't stand together, as that would look staged. Everything should be natural so that everyone could clearly see what was actually happening.
REFLECTION
During the production of this 360° panoramic video project, I have gained a clear understanding of the differences between 360 videos and traditional videos, as well as mastered practical production skills and creative ideas for immersive video creation.
At the beginning, I misunderstood the project requirements and simply shot a common linear video with a regular mobile phone, completely ignoring the core characteristics of 360° video. After receiving the tutor’s feedback, I realised that 360 video is not just a different shooting format. It abandons fixed frames and passive viewing modes, and viewers become active participants in the scene. This made me rethink the whole creation logic.
When revising the work, I redesigned the plot and scenes following the course knowledge. I paid attention to setting reasonable Points of Interest (POIs), and tried to use character movements and sound to guide the audience’s attention. I also adjusted the scene layout and character positions to avoid stiff and staged performances, striving to present natural and real interactions. Besides, I matched background music to enrich the dramatic effect of the story, turning the original warm story into a playful dramatic piece.
I also found my shortcomings in practice. I was not skilled enough in camera placement and scene blocking, and failed to fully utilise the advantages of the 360° panoramic view to arrange POIs reasonably. In addition, I lacked experience in controlling on-camera performances to keep scenes natural.
In future immersive video creation, I will first clarify the characteristics and production rules of 360 videos at the ideation stage. I will fully consider viewer experience, reasonably set viewing guidance and scene layout, and keep polishing my shooting and editing skills. I will also spend more time designing plot details and character behaviours to make the immersive experience more vivid and engaging. Overall, this project helped me build a solid foundation for 360 video production, and I will keep learning and improving in subsequent practice.
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