Researh On Spatial Scheduling Of Virtual Reality Flim Based On Dynamic Visual Threshold

The appearance of virtual reality film has greatly improved the spatial expression of film art.Virtual reality film breaks the original concept of time and space of film art,immersing the audience in the pseudo-real image space and enjoying the super real audio-visual sensory experience.The emergence of virtual reality films breaks the characteristics of linear narration in traditional films,changes the viewing Angle from passive to active,and the identity of viewers from fixed to free,giving the audience the right to choose viewing Angle freely and control the direction of the story while participating in the narration.Audiences get free gaze in virtual reality movies.However,due to the limitation of viewing experience,excessive shot switching and the transfer of control over the shot cannot be carried out.Although the experience of immersion has been improved,it is easy to cause confusion in understanding the narrative.Therefore,it is of great significance to study the space scheduling of virtual reality film,which is conducive to further expanding the creation method of virtual reality film and finding a new breakthrough for the creation theory of virtual reality film.Among the features of virtual reality film,such as multi-sensibility,immersion,imaginativeness and interactivity,the most prominent feature is immersion.The generation of immersion mainly depends on the presentation of image space.The enhancement of spatial presentation ability makes the role of information carried by space become very important.So how to deal with the rich information in the space becomes the problem that virtual reality film creation needs to solve.Based on the creation theory of traditional film,this article examines whether spatial scheduling is a practicable and viable approach to producing virtual reality movies,and summarizes the spatial narrative characteristics of virtual reality film through the comparative analysis of narrative ability of traditional film and virtual reality film.Based on the rotation range of human eyes,head and neck when using virtual reality equipment,the space is divided into initial area,progressive area,conflict area and suspense area,so as to facilitate narration and scheduling.Secondly,in virtual reality films,the transfer of camera control gives the audience the right of secondary scheduling,but the wide space and scattered line of sight make the audience unable to accurately capture the key narrative information.This paper proposes that the overlap of dynamic visual threshold and narrative visual threshold determines the amount of narrative information received by the audience,and draws the conclusion that the scheduling is centered on the audience.Thirdly,the scheduling and axis rules,scheduling and viewing Angle are compared and analyzed.Finally,based on different elements such as scene,role,light and shadow,color and sound,the appropriate scheduling method is obtained.