Examining 360° storytelling in immersive music videos

Music videos invite the viewer to an enhanced experience of a song, and by combining it with 360°, a new dimension of immersion emerges. However, a new wave of complex narrative and user interface unfolds when intertwining 360° and the contemporary way of telling stories in music videos. This thesis used an experimental mixed method research design, focusing on collecting, analyzing, and mixing both quantitative and qualitative data in a series of studies. A survey was first conducted to get an overview of consensus with respect to music videos, VR, and 360°. The majority of the respondents had tried VR and 40% of stated that they felt immersed while trying it. Around 18% argued it was experience-dependent and 42% did not feel immersed at all. The survey was followed by experiments showing two 360° music videos with different storytelling techniques. After the participants had seen the videos, they discussed the experience in focus groups in a semi-structured interview. The results were then coded and benchmarked with theory, which led to the rise of six key 360° storytelling guidelines. All three focus groups concluded 360° music videos enable a deeper level of immersion. However, when combining novelty and a sometimes overwhelming visual experience, 360° music videos can distract the audience if not told right. The guidelines discuss the purpose of a music video, how the technology affects the experience, if the medium is passive or active, and how different types of interaction can be used as a storytelling mean. They also discuss ways to pedagogically intertwine audio and visuals. Additionally, the guidelines include discussions of how different cues and POV’s can be utilized to ensure that the filmmakers and viewers experiences are somewhat aligned, they also tackle the fear of missing out, and finally compare 360° and traditional music videos. Conclusively, the research shows that storytelling in a 360° sphere will entail a journey of trial and error, and that the audience have scattered preferences of what different narrative styles they find work and do not