Thursday, January 13, 2011

Turbulence






Utilizing complicated video coding procedures, the new format provides smooth interaction and transition between scenes as audience members watch — and determine the plot of — Turbulence, created by Prof. Nitzan Ben Shaul of Tel Aviv University's Department of Film and Television. Made with his unique scene-sequencing technique, Turbulence recently won a prize at the Berkeley Video and Film Festival for its technological innovation.



"The film gives people the suspense and thrill of multiple outcomes like those of the films Sliding Doors or Run Lola Run, but it also gives them the power to really choose and influence at a number of key points how the plot of the movie will proceed," says Prof. Ben Shaul. Curious viewers can backtrack, too -- they can go back to a narrative crossroads to see what might have been, never seeing the same ending twice.

A happy American ending or tragic European one?

Using Prof. Ben Shaul's innovative format, the viewer watches the film on a regular or a touch-screen monitor, and an iridescent glow appears on certain "action items" at pivotal plot moments. The viewer can choose whether or not to interact. Should Sol send the text message? If the viewer thinks so, he clicks or touches the screen and activates the cell phone held by the actor.
Turbulence comes with an attractive plot, however it's played out. Three Israeli friends, Edi, Sol and Rona, meet by chance in Manhattan. Twenty years in the past, a protest over the Lebanon War led to an arrest, and the three friends went separate ways. Now, in present-day New York, they say goodbye to the past and two of the characters rekindle a love affair.
How will it end? You decide. Without any viewer interactions, it lasts 83 minutes; with interactions it varies from one hour to two. Whatever choice the viewer makes, Prof. Ben Shaul says, the end leads to closure and viewer satisfaction.
"Sliding Doors and Run Lola Run inspired me. They make you think about options in life, but they don't let you experience what responsibility feels like at crucial decision points," says Prof. Ben Shaul. "In our film you decide where the character should go, and you can decide to return to the point where the plot flipped. It's gripping."

Fit for an iPad

Funded by the Tel Aviv University Technology and Science Committee, the movie is perfect for new touch-screen technologies like iPads or personal airplane movie players. But the movie can also be seen in groups. An individual can be chosen to make the choices, or majority vote can rule.
"It develops optional thinking and can change the way people consume media and advertisements," says Prof. Ben Shaul, who received his Ph.D. from the Cinema Studies Department at New York University.
He hopes to inspire a whole new paradigm of filmmaking and is currently writing a book with the working title What If: Optional Thinking and Narrative Movies.


Interesting Questionnaire

 
Before I will start to record the final video parts I need to design my prototype of interactive video. During the week 12 my second marker recommends me to use SOPI Questionnaire for my user study. This actually could be really useful to achieve the appropriate engagement of the final showcase. 
 
 
ITC SOPI
  Independent Television Commission 2000



Please read the instructions below before continuing

Instructions:

We are interested in finding out what you feel about the experience you have just had
in the ‘DISPLAYED ENVIRONMENT’. We use the term ‘displayed environment’
here, and throughout this questionnaire, to refer to the film, video, computer game or
virtual world that you have just encountered. Some of the questions refer to the
‘CONTENT’ of the displayed environment. By this we mean the story, scenes or
events, or whatever you could see, hear, or sense happening within the displayed
environment. The displayed environment and its content (including representations of
people, animals, or cartoons, which we call ‘CHARACTERS’) are different from the
‘REAL WORLD’: the world you live in from day-to-day. Please refer back to this
page if you are unsure about the meaning of any question.

There are two parts to this questionnaire, PART A and PART B. PART A asks about
your thoughts and feelings once the displayed environment was over. PART B refers
to your thoughts and feelings while you were experiencing the displayed environment.
Please do not spend too much time on any one question. Your first response is usually
the best. For each question, choose the answer CLOSEST to your own.

Please remember that there are no right or wrong answers – we are simply interested in
YOUR thoughts and feelings about the displayed environment. Please do not discuss
the questionnaire with anyone who may also complete it as this may affect your
answers or theirs. We should be grateful if you would also complete the ‘Background
Information’ overleaf.

All of your responses will be treated confidentially.



Sense of Presence Inventory
Administration and Scoring Instructions

1. Administration

• Administer the questionnaire to non-expert participants immediately after they have
experienced the media display for which an experiential evaluation is required.
• Participants should not be made aware of the goal of the experiment(s) or that the
questionnaire is intended to measure presence.
• The questionnaire is to be filled in quickly, with immediate responses to the items in the
order they are presented.
• Background information regarding participants' previous use of media is potentially
important and should always be collected.
• As an approximate guide, the questionnaire should take 5-7 minutes to complete.



2. Scoring

• Each completed questionnaire will result in 4 factor scores (each generated by calculating
a mean of all completed items contributing to each factor) per media experience per
participant.

• The factors, and items contributing to them are:

• Spatial Presence

• Engagement

• Ecological Validity/ Naturalness

• Negative Effects

• Scores for each factor cannot currently be combined into one overall "media experience"
score - results for each factor should be analysed individually.

• Missing data must be taken into account in calculating the means - but should be
minimised through careful instruction in administering the questionnaire.

• When environments that do not contain characters are being evaluated with the ITCSOPI,
we recommend that item B23 be ignored when calculating the mean Spatial
Presence factor score - as B23 refers specifically to characters in the environment.