The Use of the 3d Media in Films and its Impact on the Film Experience - Essay Example

The Use of the 3d Media in Films and its Impact on the Film Experience among Filmgoers Introduction In recent years, three-dimensional (3d) films have made a significant impact on the movie industry. The release of Avatar in 2009-2010 which raked in billions of dollars in profits revived efforts by film producers to switch to this genre in their future productions. Reviews from the audience declaring the major difference and improvement in the movie experience also provided further motivation for filmmakers to shift to this media. Critics of this media point out however that the 3d presentation does not make much difference on the filmgoer’s experience, especially as the media can also provide too much realism to the audience, taking away the subconscious mindset of illusion in the film. These elements of the 3-dimensional films will be discussed in this paper. This paper shall discuss the use of the 3-d media in films and its impact on the film experience among filmgoers. Both the negative and the positive elements of this experience will be considered. Initially, a brief history of 3d films will be presented, followed by major developments in this genre in the past 10 years. The positive and the negative impacts will then be discussed and both elements will be assessed with possible conclusions on overall effects. This paper is being carried out in order to provide an analytical assessment of the topic, mostly in relation to this film genre in the current age of digital technology. Body Three-dimensional films of 3d films are movies which improve the illusion of depth perception (Walters, 2009). Supported by stereoscopic photography, regular cameras record images from two viewpoints and later, special projection methods are used to present an illusion of depth in watching the movie (Walters, 2009). In the current context, the 3d experience is no longer confined to movies, as TV broadcasts and DVDs and blu-ray disks now incorporate these elements through 3d TVs (Minoli, 2010). The 3d genre has been available since the early 1900s but has mostly been discounted due to its high cost of production and the numerous processes involved in its application (Mendiburu, 2009). In any case, they were soon featured in the 1950s in America, later to gain wider application in the 1980s and 1990s through the creation of IMAX theatres (Mendiburu, 2009). These movies gained more success in the 2000s and such success was capped by the movie Avatar released in December 2009. The movie Ghosts of the Abyss by James Cameron, released in 2003 was the first movie which was distributed in full-length 3d IMAX (Zone, 2012). It was filmed using the Reality Camera System which applied the latest high definition cameras. This camera system was built by Vince Pace based on Cameron’s specific instructions and preferences (Zone, 2012). This camera system was later used in other 3d movies like Spy Kids 3d: Game Over in 2003 and Aliens of the Deep in 2005. The Polar Express was also one of the first full-length animated 3d movies released (Zone, 2012). This 3d version was able to significantly earn more than the 2 dimensional versions of the movie. This trend was continued in other movies and secured more interest for the 3d genre. More movie theatres were soon equipped with digital 3d formats and 2d movies were even re-released in 3d format for possible market testing (Prince, 2011). Profits were generally favourable. More movies were filmed in 3d and more movie studios started adopting and applying 3d rigging into their cameras. The demand for 3d equipment was encouraged and incentives of profits were continually built (Prince, 2011). The conversion of films from 2d to 3d presentations has been carried out for various films, and some have been successful, while others have not proved effective. Conversion products have also been introduced into the film market as more movies were being converted into the 3d format (Prince, 2011). Filmmakers like George Lucas and Steven Spielberg have embraced this filmmaking style in their movies and are continuing to accept its applicability for the audience. 3d development and concerns Jeffrey Katzenberg, the CEO of Dreamworks Animation declared that 3d technology has continued to evolve with each passing year (Wharton, 2008). Various theatres have also accepted the new technology by installing digital frameworks to receive these 3d films. More digital computer companies are also building tools for production companies like Warner Brothers and Dreamworks to usher in a new age of 3d animation movies (Wharton, 2008). Experts also declare that 3d movies are just gaining momentum and would continue to expand in usage. It is however unclear whether this technology can provide theatres with sufficient competitive advantage over other genres or formats of entertainment. Movie theatres are securing 3d projection frameworks and digital theatre systems which seek to manage film viewing and movie distribution via digital and satellites, instead of using expensive rolls of film to show the movies to the audience (Wharton, 2008). Developments however have been inconsistent, especially as film executives have indicated that there is a need to develop more outlets for 3d movies. Three-dimensional technology basically refers to the ability to present flat images usually seen from the naked eyes, providing more depth to them with the assistance of special viewing glasses (Sangani, 2009). This technology has been considered a means of promoting more competition among filmmakers; and this form of competition have been around for a while now, but not with as much presence as it has in the past 15-20 years. Filmmakers admit that 3d first gained popularity in the 1950s, especially as they needed a format which would take away the viewer from the comfort of his TV set (Sangani, 2009). The movie industry is in a similar situation today as the home theatre system has become digitized and has become more evolved. Filmmakers saw the need to draw out the viewer from the comforts of this TV and his home and into the visually entertaining 3d movie experience. These filmmakers have also declared that with the expansion of 3d movies, more filmgoers would be engaged in experiencing films on a realistic format (Schwartz, 2010). The current age of digital filmgoers and technologically-savvy youth have more or less drawn in needed viewers and undeniably, the 3d presentation can take credit for these developments. Katzenberg has been, in some way considered a groundbreaker and a major supporter in the application of 3d technology (Wharton, 2008). In a development forum for Intel, he declared that 3d presentations will redefine and transform how films are made and how the audience would experience these films (Wharton, 2008). He discussed how the latest 3d technology is the third revolution in film making. The first wave was seen with the transformation from the silent to the sound format and the second wave represented the shift from black and white to colour. He declares that the 3d format is the third revolution in making movies (Wharton, 2008). This presentation is meant to make the audience feel like an engaged film-viewer, making them feel like they are not just watching the movie, but experiencing it as well. Film experts declare that there is a significant amount of weight on having such declaration by Katzenberg gain truth. If there is truth to his statement, the theatres may be able to utilize 3d technology in order to gain relevance and competitiveness among viewers even amidst multiple viewing options for consumers (Witmer, et.al., 2005). The goal is to stay competitive with home filming options and growing technologies for home theatres. In the past, there used to be a major difference between watching television in the homes and in seeing it in the theatres, with home viewing being a limiting experience for avid viewers (Witmer, et.al., 2005). However, in the current age of affordable big-screen TVs, digital experiences, and surround sound systems, the gaps between these genres have narrowed. Three dimensional technology has been considered as a tool by which viewers can be invited back into the theatres yet again. As the 3d format has gained wider use in recent years, it has become possible to differentiate the theatre experience from the home experience (Wharton, 2008). Moreover, if the experience appears better to the consumers, then the theatres are not just different from the TV or DVD experience, but a much more superior presentation to the home viewing options. This potentially is a tool by which movie ticket sales can again be increased and reenergized. However, issues on the future of 3d in movie theatres are very much apparent. Questions have been forwarded on whether or not the 3d format would be adapted fast enough; also on how theatres would be sharing in the capital expense needed to accommodate such new technological tool (Zone, 2012). Market film analysts have discussed whether the film industry is developing fast enough to welcome the digital systems needed to apply the 3d technology. Regardless of the pace however, filmmakers and theatre owners have recognized the fact that the 3d system is a major step in the right direction. In other words, it is a step which may not be essential in gaining greater applicability (Zone, 2012). Three dimensional technology is often considered a supportive process to digital systems in the filmmaking industry, one which would provide another upgrade on how films are being filmed and distributed at present. In a much more expansive context, 3d seems to be an add-on to the digital cinematic system (Prince, 2011). Digital projection is the basic foundation and the speed at which the three dimensional genre gains acceptance in theatres would also impact on the development of the digital format. Theatre owners declare that digital technology allows theatres to deliver movies into the big screen using digital media, not reels of film (Prince, 2011). For studios, it is a less expensive option as there is no need to print and then deliver reels of the film. Through digital technology, studios can even show films via satellite and via digital media, including computer hard drives. Savings in this setup allows for the capital expenses to be minimized (Prince, 2011). Even with these benefits, the shift to digital technology has encountered issues with studios and theatres not agreeing on who should pay for the installation of new digital systems. Other issues in the implementation of the digital system relate to standards in digital projection processes as well as usage fees for content creators and studios (Mendiburu, 2012). Katzenberg recognized that the 3d and digital screen adoption process has not been as smooth as they hoped it would be. Movie studios who are planning to release movies in 3d format are aiming for theatres to secure sufficient digital systems in their theatres before their films would be released (Wharton, 2008). For some theatres, this option has not been taken up. There is a contrast seen with the pace by which conversion is being embraced by theatres and the pace by which digital developments are being introduced. Theatres do not want to cover the capital costs of converting to the digital setting, especially as their conversion may not necessarily increase their profits (Wharton, 2008). Based on a market system perspective, the conversion may however prove to be more profitable, especially in terms of inconsistent cost savings seen in the digital and 3d presentation (Wharton, 2008). These issues remain unresolved, often taking away from the full presence and availability of the 3d format for the film viewers. Three-dimensional visual experience In the study by Carrier and colleagues (2012), the authors set out to establish if the 3d presentation of data in films affects the viewer’s perception of the movie content. Their study utilized an online questionnaire where a significant number of respondents who recently saw 2d and 3d movies in the theatre were asked about their film experience. Before the study was initiated, the authors considered four variables for their assessment (Carrier, et.al., 2012). These were considered four paths in the film experience. The first referred to the impact on their memory, the second was on immersion, the third was the indirect impact on interest and involvement, and the fourth was on discomfort (Carrier, et.al., 2012). The study indicated that the film format did not have a significant impact on any of the paths which were assessed. Moreover, their path assessment was evaluated in order to establish connections between the movie format and movie content memory (Carrier, et.al., 2012). The analysis was framed based on a model of user experience at the movie theatre and it also considered the four paths from the 3d format to the outcome results. The direct impact of 3d presentation was highest on immersion as the results indicated non-significant relations between 3d presentation and immersion (Dalgarno and Lee, 2010). This means that in viewing the film in the 3d format, the viewer’s immersion levels were slightly decreased. The impact on the filmgoer’s memory was low. In effect, even as 3d presentations reduced the viewer’s immersion, this did not appear to impact significantly in on movie memory. In relation to path values, the 3d presentation to memory proved to be highest (Engber, 2009). In evaluating the non-significant impact of 3d versus 2d presentations on memory, significant effects on other elements like involvement emerged (Carrier, et.al., 2012). Movie memory was impacted by movie choice with some movies like Saw and Tangled being more difficult to remember as compared to other movies. Viewer’s reaction toward 3d movies was also favourably linked with interest in the movie as well as interest in the movie, especially in terms of involvement (Carrier, et.al., 2012). As a result, a favourable and welcoming attitude going into the 3d movie contributed to higher interest in the movie which also promoted high levels of engagement. As for discomfort in watching the movie, this actually caused decreased levels of involvement in the film (Fox News, 2010). These results present interesting elements. The presence elements were impacted by immersion elements as well as involvement levels, promoting the favourable immersion and presence variables in the 3d presentation (Carrier, et.al., 2012). Age also had a significant impact on presence especially as the older respondents experienced encouraging interest in both 2d and 3d genres. In terms of memory, the direct path from 3d presentations proved to be most significant (Hilbelink, 2009). The study also admitted that as the viewers had more interest in the film presentation, favourable emotions were also engendered among the filmgoers (Carrier, et.al., 2012). Three-dimensional film presentations include the control of images viewed by the eyes with goals to secure two varying visual elements to the brain simultaneously (Huk, 2006). Through specially-made glasses, an image is featured to the left eye and another image is presented to the right eye. The figures refer to the same object but on disparate views (Huk, 2006). The variance in perceptual angle between the two objects is labelled as binocular disparity. A common type of special glasses create such effect via coloured filters aiming to draw out a red image for one eye and a blue image for the other eye (Perry, et.al., 2007). The contemporary kind of 3d glasses often used for movie theatres, applies polarized lenses to filter out the images to the eyes. In general, two projectors are applied to create two varying screen images from disparate polarizations (Perry, et.al., 2007). The two slightly different figures are processed by the brain primarily starting with the occipital lobe. Stereoscopic images are also assessed within the medial temporal lobe which presents associations made to declarative memory functions and formation (Van Strien, et.al., 2008; Suzuki and Amaral, 2004). The images are then joined together to establish a composite viewpoint in more detail on the figure or the presenting scene. Three-dimensional stereoscopic presentations are different from 3d perspectives which are a different means of securing depth in the images (Van Strien, et.al., 2008). As the 3d perspective is another means of visualizing spatial relations, this kind of 3d presentation is mostly founded on two dimensions, calling for more inferences to draw out depth data on the scene as compared to stereoscopic presentation; and is essentially considered to not be as effective in presenting spatial relations or depth information (Perry, et.al., 2007). Three-dimensional images have been applied not just in films, but as educational and instructional tools as well, in medical school and in some biology lessons. Studies on the application of the impact of these kinds of images on learning in the UK and the US were carried out by Henn, et.al., (2002), Hilbelink (2009), and Petersson, et.al. (2009). The application of these 3d images within human biology courses is mostly based on the main role of spatial relations of body parts in different regions of the body. In effect, the kind of knowledge which is needed to gain deep understanding for human biology and anatomy is based on the knowledge of relationships for anatomical parts within the three-dimensional realm (Henn, et.al., 2002). The relationship between kind of knowledge needed in human anatomical courses and the kind of data transmitted in 3d images presents a basic and theoretical foundation supporting the efficacy of 3d presentations within this field of education (Hilbelink, 2009). Featuring target data in 3d seeks to support the use and application of spatial knowledge, even as empirical studies on this application have not been consistent (Henn, et.al., 2002; Hilbelink, 2009). There is also a possible theoretical relationship found between the 3d genre for target materials and learning. This relationship seems to be based on the complexity of online learning settings which supports the use of the 3d presentation of materials (Hilbelink, 2009). These presentations are said to improve the learner’s interest on the data being presented and his motivation to understand the data. In effect, evaluating target data within a moving and realistic presentation seems to support more engaged and more effective learning (Dalgarno and Lee, 2010). The initial stereoscopic presentation of a film was at the Pi Suner laboratory in 1914 (Smith, 1953). After the initial 3d movie presentation, an increase in theatrical films was seen in the US using 3d formats from the 1940s to the 1950s. In recent years, as was mentioned previously, such interest re-emerged. The renewed interest in 3d stereoscopic movies in the US secured the empirical assessment of the effects of 3d formats of data for viewer’s experience. Even with the favourable developments in 3d viewership, there are still negative elements in the presentation, including effects like nausea, motion sickness, headaches and general discomfort (Engber, 2009). To frame the 3d movie experience within the concept of interaction between technology and the users, major involvement presence framework was needed. In general, users may perceive that sense of ‘being there’ when they are placed within the computer-generated and virtual setting (Ivory and Kalyanaraman, 2007). The feeling of ‘being there’ is termed as ‘presence.’ Presence is founded on various elements and different assessments of presence have been forwarded. In relation to previous studies, it has been discussed that the user’s involvement with the 3d movie and his immersion in the environment of the 3d movie is very much associated with presence (Ivory and Kalyanaraman, 2007). Different results might be related to high levels of presence as well as cognitive benefits, physiologic shifts and emotional responses (Meehan, et.al., 2005). In general therefore, the 3d experience in films provides an improved take and perception of films, in terms of the emotional resonance as well as the related tactile elements of the film. Steuer (1992) discussed ‘presence’ as the effect of being in a specific environment. Various perceptual elements impact on securing such presence, including the input from various sensory structures, mindful attentional, perceptual, and mental variables which support perceived data in relation to current concerns and previous experiences (Turner, 2011). After considering literature discussing these elements, Lombard and Ditton (1997) evaluated six forms or manifestations of presence. Aside from discussing presence to be multi-dimensional concepts, the authors also discuss that in order to enjoy presence, the perception of non-mediation is important (Lombard and Ditton, 1997). Non-mediation refers to the ability of viewers to differentiate between the actual physical world and the world developed or created by the presentation. Lombard and Ditton (1997) point out that non-mediation can be secured when the medium would seem invisible or transparent, operating as in a large open window where the user and the content are transported and shared in one physical setting. Within the context of 3d presentations, non-mediation is secured through 3d technology as the technology would build an illusion of a shared setting (Lombard and Ditton, 1997). Moreover, Steuer (1992) discusses that presence as secured by the 3d media is founded on technical elements, mostly on variables like vividness and interactivity. Vividness is based on sensual information qualities promoted by the media; and interactivity is based on the potential of relating with the mediated environmental setting (Vorderer, et.al., 2004). In general, the various dimensions seem to interact with various other elements. Interactivity is affected by speed, range, and mapping. Speed refers to the rate by which the input can be included into the mediated setting and range includes the various possibilities by which interactions with the environment can be achieved (Turner, 2011). Mapping finally refers to the ability of the system to blend and use these actions naturally. However, Steuer (1992) also states that film viewings in theatres are technically identified through low interactivity and high vividness with vividness being more relevant in its application. Vividness is based on breadth and depth of the object or scene. Breadth is supported by the template of sensory channels which are requested by the technology, visual tools, and auditory systems; depth on the other hand refers to the intensity of the appeal seen with each channel (Turner, 2011). 2d and 3d screenings are not different from each other in terms of interactivity or the breadth and vividness variables. However, the depth of the media is different for these presentations as the stereoscopic data is presented well by the 3d technology and format. In general, Ijsselsteijn and colleagues (2001) discuss that aside from technological elements, user qualities can impact on the impact of presence. The authors indicate that the users’ age and gender may not be the only factors which impact on the perceptions of 3d films; the feelings of getting sick may sometimes also impact of the experience on the individual (Ijsselsteijn, et.al., 2001). User qualities are considered important within the context of 3d settings especially with more sensual data created by the stereoscopy. Moreover, the increase can also cause sickness, including eyestrain, often based on sensory overload or on the use of 3d glasses (Ijsselsteijn, et.al., 2001). In a similar vein as the discussion on presence, the idea of immersion is widely applied with research established based on definitions which highlight technical or psychological elements (Bracken, 2005). Slater and colleagues (n.d) discuss that immersion is therefore a well-supported definition of what specific systems are able to provide. It refers to a measurable definition of a system technology. Lombard and Ditton (2000) discuss that to assess immersion, various appealing senses have to be considered first, and then followed by an assessment of the data presented. “Not only immersive virtual reality systems but also simulation rides, IMAX theatres, and even standard movie theatres can be said to immerse the senses of media users” (Lombard and Ditton, 1997). Authors declare that by securing more data within the context of 3d screenings through stereoscopy, the rate of immersion would likely increase (Lombard and Ditton, 1997). Lombard and Ditton’s (1997) statement is likened to Steuer’s (1999) discussion on vividness. The disparity is on Steuer’s (1999) discussion being associated with presence, where Lombard and Ditton’s (1997) perception is based on objective qualities within a system. Under these conditions, immersion can impact on how presence is experienced. Aside from the technical assessments on immersion, psychological definitions related to presence are also apparent (Jurnet, et.al., 2005). Immersion includes the unawareness of time, of the real world, and the sense of finding oneself in the task environment. This refers to the feelings of immersion which is associated with absorption, involvement, and engagement (Turner, 2011). Bente and colleagues (2002) discuss that immersion involves the affective, the cognitive, as well as the behavioural elements of a person. The association between presence and immersion is very much liable to debate. In considering immersion, it can be pointed out that immersion has sometimes been used inappropriately and interchangeably with presence (Bente, et.al., 2002). Moreover, immersion is considered as one of the six specific forms or types of immersion. Witmer and Singer (1998) also discuss immersion to be a state where an individual considers himself to be incorporated within a setting which promotes a consistent stream of stimuli. It also refers to a state where the user continues to experience immersion as a means of enjoying presence (Witmer, et.al., 1998). Other research teams utilise these two terms interchangeably. Due to such multiple applications, McMahan (2003) discusses that immersion and presence are seen together and often as one term referring to one phenomenon. As a result, their links with each other are also necessarily supportive. Using the 3d genre to show movies is actually a rediscovered presentation tool which seeks to improve the user’s movie experience. It is indicated that every new discovery in the visual media can be assessed based on the slow and gradual development of perceptual variables which energise natural perception and promote the enjoyment of presence. With the use of 3d, researchers evaluated 3d TV because of its more significant depth, and whether it still promotes feelings of presence, depth, and naturalness (Turner, 2011). In the study by Ijsselsteijn, et.al., (1998) respondents viewed three repeated film clips in order to evaluate their experiences on each dimension. Their experiences were evaluated continuously through a slider. Results indicated that the feelings of depth, realism, as well as presence were different based on specific conditions (Ijsselsteijn, et.al., 1998). Moreover, presence and perceived depth including naturalness of depth and presence were favourably correlated with each other. This implies that the vividness of the medium and depth is associated with feelings of presence. These results however do not support the notion that 3d screenings will provide greater presence and higher levels of enjoyment. A study by Sobieraj, et.al., (2010) discusses the gratification secured through 3d screenings in the film world. Respondents were asked to assess their expectations and experiences before and after the screening, mostly in terms of emotions and feelings of presence. Results indicated that respondents experienced presence when watching the film. In addition, the impact was affected by gender, as women in general were able to experience more presence as compared to men (Sobieraj, et.al., 2010). However, as the study was mostly carried out to assess person-focused variables in relation to presence, it did not compare the 3d and 2d presentations. It is not therefore clear which elements in detail trigger feelings of presence. Lombard, et.al., (2000) discussed feelings of presence in the same way as Sobieraj and colleagues (2010) which evaluated filmgoers viewing large screen size in the cinema. Lombard and colleagues (2000) discovered that respondents indicated more enjoyment, involvement, and physical mobility while watching in the bigger screen as compared to the small screen. In addition, Botta and Bracken (n.d) also indicated that participants were able to gain more presence when they were viewing action movies on a bigger screen. However, it is also indicated that the greater feelings of presence were mostly founded on emotional content in terms of the material viewed (Botta and Bracken, n.d). The researchers discovered that in watching neutral stimulus material, presence is mostly supported by technological elements, however, when stimulus material has more emotional tones, the technical elements do not impact significantly on presence (Botta and Bracken, n.d). Conclusion Based on the discussion above, the 3d media has gained much favour within the film industry. It has provided an added texture to the film experience, one which is meant to draw out viewers from their homes and into the movie theatres. In general, the 3d presentation has been fashioned to provide a more realistic and engaging film experience. Its acceptance as a tool for greater film experience is however not wholly supported, especially in relation to extraneous circumstances affecting its enjoyment and utilization. As far as filmgoers are concerned, the 3d format seems to provide a more engaging movie experience, mostly in terms of presence and immersion. Although various studies indicate that they did not see any difference in terms of presence and immersion between the 2d and the 3d format, most viewers admit and recognize the ability of the 3d presentation to improve presence and secure for them a more realistic film experience, one which is incomparable to their confined TV experience. 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