=Paper=
{{Paper
|id=Vol-1528/paper13
|storemode=property
|title=Observe or Participate: The Effect of Point-Of-View on Presence and Enjoyment in 360 Degree Movies for Head Mounted Displays
|pdfUrl=https://ceur-ws.org/Vol-1528/paper13.pdf
|volume=Vol-1528
|dblpUrl=https://dblp.org/rec/conf/ami/BoomSBG15
}}
==Observe or Participate: The Effect of Point-Of-View on Presence and Enjoyment in 360 Degree Movies for Head Mounted Displays==
https://ceur-ws.org/Vol-1528/paper13.pdf
Observe or Participate: The Effect of Point-Of-View on Presence and
Enjoyment in 360 Degree Movies for Head Mounted Displays
Anneliene A.L.F.M. van den Boom, Snežana Stupar-Rutenfrans,
Oscar S. P. Bastiaens, Marnix M.S. van Gisbergen
Academy for Digital Entertainment, NHTV University of Applied Sciences,
Breda, the Netherlands
info@anneliene.com, {stupar.s, bastiaens.o, gisbergen.m}@nhtv.nl
Abstract. The current study investigated the relationship between the
point-of-view (POV) of a 360-degree film for Head Mounted Displays
and the level of presence and enjoyment. We created two conditions
with a 360-degree movie, with different POVs (actor and observer).
Participants from the actor condition scored significantly higher on
Spatial Presence compared to participants from the observer condition.
However, the expected differences in enjoyment and other subscales of
presence between the two conditions were not found. Finally, we
provide a recommendation on what POV (actor or observer) is the most
presence and enjoyment enhancing.
Keywords: Virtual Reality · Point-of-Views · Presence · Enjoyment ·
360-Degree Movies
1 Introduction
Although Virtual Reality as a concept is old, innovative virtual (VR) and augmented reality (AR)
technologies and recent industry developments stimulated an increase in VR and AR usage. Several
companies made huge investments that received a lot of media attention such as Facebook's $2 billion
acquisition of Oculus Rift and investments of Sony (in Playstation VR), HTC and VALVE (in VIVE),
Google (in Cardboard and Magic Leap), Samsung (in VR headset) and Microsoft (in HoloLens).
Several companies, among which Oculus’ Story Studios and 20th Century Fox, already started
producing movies and videos for VR devices, expecting unique immersive experiences. Immersion
describes the extent to which media are capable of delivering the simulation of reality to the senses of a
human participant [1]. Assessing how the viewer perceives the illusion of reality is usually done by
measuring the feeling of presence. Presence is defined as the perception of the viewer related to his/her
sense of being present in a virtual environment and can be operationalized as subjective (rated by the
viewer) and objective (rated by observer) presence [1]. Previous research implies that the feeling of
presence can be enhanced by VR technology using 360-degree movies in Head Mounted Displays
(HMDs) that enable viewers to be completely surrounded by a movie scene [2].
A new question can be raised concerning how to create immersive experiences using VR
technology. Virtual reality technology offers new possibilities for moviemakers compared to
traditional media (cinema and television) such as user control via free movement of looking around
within movie scenes, interaction possibilities and different points-of-views (POVs). In this study we
focus on the effect of different POVs, more precisely between an observer and an actor perspective. In
the observer POV, traditionally used in cinema and television, the viewer experiences the movie from
the perspective of an audience member. Being ignored by the actors, the viewer becomes an observer
within the movie. The viewer passively observes the actors' interaction and story within the virtual
environment. Although it is a passive behaviour, within VR the viewer has the possibility to freely
look around within the movie scenes. An actor POV is created when the viewer is transported into the
perspective of a movie actor. The viewer experiences the movie from the perspective of a character or
actor (camera is placed within the actor position).
Copyright © 2015 for this paper by its authors. Copying permitted for private and academic purposes
1.1 Effects of POVs on Presence and Enjoyment
By using an actor POV, the viewer becomes more a part of the environment [3]. As other actors seem
to directly talk and interact with the viewer when using an actor POV, the viewer might feel more part
of the plot and experience more presence within the movie compared to an observer POV. An observer
POV means that the viewer is not a character and therefore not part of the plot, which might make a
viewer feel less immersed. Several studies suggested that a decrease in distraction and an increase in
the level of presence causes the perception of realism and enjoyment of the VR experience when an
actor POV is used [2],[4]. However, the aforementioned studies used simulations instead of movies
and actors were allowed to interact with the environment where observers would passively observe.
There is also the possibility to use an actor POV without interaction. This passive viewing might be
more in line with the need of inactively experiencing an entertainment product such as a movie. As
most of the previous research focused on interactive virtual environment POV’s, the current study is
designed to gain insight in which of the two POVs (actor versus observer) will increase the feeling of
presence and enjoyment the most within non-interactive content for virtual environments.
1.2 Aims and Contribution
The current study aimed to explore the effects of POVs on the feeling of presence and level of
enjoyment in VR movies, using HMDs. To our knowledge, the results of the present study provide the
first evidence in the literature and industry for (VR) moviemakers with recommendations regarding the
most effective POV to be used in virtual reality movies based on experience goals. The following
research questions were formulated:
RQ1: To what extend does the viewer perceive subjective presence and enjoyment in a virtual
environment using a non-interactive movie setting (a 360 degree movie in a HMD)?
RQ2: Does the perceived subjective presence and enjoyment differ when using an actor or observer
POV?
2 Method
The experiment took place in 2015 at the NHTV University of Applied Sciences in Breda.
All
participants were seated in an office chair in order to match the virtual representation of the actor POV
in the movie. The turn-able office chair ensured that all participants could easily use head movements
and see the movie scenes in 360 degrees. The participants experienced the movie in Unity 5 with the
HMD Oculus Rift (DK2) on a Micro-Star International (MSI®) Gaming Series laptop that ran a
Windows 8 system, with Sennheiser HD 202 over-ear headphones.
2.1 Design
Two POV conditions were created using movies with the same content, yet with different POVs. In the
observer POV condition the participant is observing the scene as in traditional movies, whereas in the
actor POV condition the participant is observing from the perspective of one of the actors and as such
becomes part of the plot (Figure 1). Participants had to fill in the first part of the questionnaire
containing background information and mood measurements. Next they were invited to watch the
movie after which they filled in the last part of the questionnaire. The total duration of assessment was
approximately 30 minutes.
2.2 Participants
Sixty students at NHTV (age 17 to 29 years) were recruited using a convenience sampling method.
Participants in the two conditions did not differ on the various background variables such as ethnic
background, education, experience with computer games and previous experiences with HMDs.
However, more females (67%) participated in the actor condition compared to the observer (37%)
condition (χ²(1, N = 60) = 5.41, p < .05.). The mean age within the
Observer condition was slightly lower: 20 years (SD = 2.21) compared to 22 years (SD = 2.45) (t(58)=
-2.658, p< 0.05).
Fig.1. Experimental Design and Participant Distribution
2.3 Material
A short virtual reality movie (“The Prism”) was created and used in both POV conditions. Much effort
was put in creating a good story that did not differ between the two conditions. The movie was
focussed around an interrogation scene. A female character (Emma) is being questioned by two police
officers. The story is set in an interrogation room of with a one-way mirror. Emma seems to have no
clue why she is being questioned and gets all her clues on why she is there from the officers. In the
actor condition (Figure 2) the viewer experiences the story from the POV of Emma. In the observer
condition (Figure 3) the viewer sees the story from a POV that is positioned to the left of Emma. In
this condition the officers and Emma do not acknowledge the viewer.
Fig.2. Actor Condition Fig.3. Observer Condition
2.4 Measures
SOPI. The Sense Of Presence Inventory [5] was used to measure the level of presence but also
included items on background information of the participants. Forty-four items divided across four
subscales assessed the level of presence: Spatial Presence (19 items), Engagement (13 items),
Naturalness (5 items), and Negative Effects (6 items). Each item was rated on a 5-point Likert scale,
ranging from 1 (completely disagree) to 5 (completely agree).
Enjoyment. Enjoyment is seen as relief from overstimulation (through relaxation) or under
stimulation (through arousal). Therefore rather than to simply ask to what extend participants enjoyed
a certain experience it is more accurate to let the participants rate their current emotional state and
compare it to how they feel after a certain experience. In order to measure the level of enjoyment, a
combination between the Positive and Negative Affect Schedule (PANAS) [6] and Pick-A-Mood
(PAM) [7] scale was used. The participants had to rate to what extend they were experiencing 4
positive emotions (Excited, Cheerful, Relaxed, Calm) and 4 negative emotions (Tense, Irritated, Sad,
Bored) before and after watching the movie. Each item was rated on a 5-point Likert scale, ranging
from: 1 (Very Slightly or Not at All), 2 (A Little), 3 (Moderately), 4 (Quite a Bit), 5 (Extremely). In
order to measure changes in positive and negative emotions, we compared the results from before and
after the movie (subtracting the scores for each of the emotions). We conducted a multivariate analysis
of covariance (MANCOVA) to explore differences between two conditions (actor and observer movie)
in six dependent variables (Spatial Presence, Engagement, Naturalness, Negative Effects, Change
Positive and Negative Aspects) where we included gender and age as covariates.
3 Results
We found difference between the two conditions with regard to Spatial Presence (F(1) = 2.653, p
<.001, ηp2 = .172). In line with previous research [1,2], independent T-test revealed that participants in
actor condition scored significantly higher on Spatial Presence than participants from observer
condition (t(58)= -3.067, p <0.01). No other differences between the conditions were found on the
other subscales, Engagement (F(1) = .034, p >.001, ηp2 = .003), Naturalness (F(1) = .418, p >.001, ηp2
= .035), Negative Effects (F(1) = 1.693, p >.001, ηp2 = .051), Change Positive Affect (F(1) = .664, p
>.001, ηp2 = .027), and Change Negative Affect (F(1) = .045, p >.001, ηp2 = .002).
Table 1. Means, Standard Deviations (in Parentheses) per Condition and Effect Sizes of the Differences between
the Conditions on Dependent Variables (Results from MANCOVA)
Actor Observer Partial Eta Square
Condition Condition (ηp2)
Spatial Presence 3.37 (.41) 2.99 (.53) .172***
Engagement 3.71 (.47) 3.68 (.45) .003
Naturalness 3.57 (.38) 3.81 (.51) .035
Negative Effects 2.16 (.77) 1.98 (.76) .051
Changes Positive -.27 (.77) -.01 (.48) .027
Changes Negative .06 (.55) .03 (.62) .002
***
p < .001
4 Discussion
The results suggest that virtual reality technology can be used to create immersive experiences
regardless of the POVs being used. The actor as well as the observer POV results in positive effects on
engagement, presence and naturalness. Although both conditions are suitable to engage viewers, an
actor point of view seems to be preferred, as this will increase feelings of spatial presence. An actor
POV makes use of the characteristics of a virtual environment that encompasses (or is simulating) a
sensitivity and responsiveness to the presence of the viewer (creating an ambient intelligent context).
This responsiveness seems to increase the involvement of viewers as active participants in the story.
An overwhelming sensory input of a VR environment might activate processes that lead to the
perception of being spatially present in the mediated environment [8]. An example of such a sensory
input is the experience of being addressed by the characters in a movie and thus being (forced to be)
involved in the plot as is suggested by an actor POV.
Additionally, the expected suggestion of interactivity and overwhelming sensory experience may also
partly explain the lack of differences between both POV conditions with regard to the remaining
variables. On the one hand this has to do with the suggestion of interactivity creating expectancies that
cannot be met. As viewers in the actor POV are being looked at and spoken to by actors and as such
play a role in the story, viewers might feel inclined to respond and actively participate (as in games).
Nevertheless, this is not possible in a non-interactive movie setting, which might have reduced the
effect of different POVs on engagement and naturalness. On the other hand, the participants (and
viewers in general) have little to no experience with movies in virtual reality and as such the
overwhelming sensory virtual reality experience might have been too high in both conditions to find
differences (as is partly supported by the relative strong positive effects in both the actor and observer
POV conditions). We can also speculate that the participants who use a HMD for the first time are
already affected by anticipation and excitement of using a HMD before the experience takes place.
Therefore the experience itself has little to no effect on mood and emotions experienced before and
after the VR movie experience. Future research should look at effects of POVs on presence and
enjoyment for more experienced virtual reality movie viewers. Moreover, the experimental situation
might have put viewers in a more active mood, while at home they might have a need for a more
passive consumption of movies in virtual environments. Clearly, more experiments are needed to
determine the effects of POVs on presence and enjoyment in different contexts and for different types
of content.
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