Compelling stories
Discussions about whether bodies should exist in VR and how this influences storytelling have been explored in depth elsewhere. For an excellent study on how position, bodies, and action framing affect viewers, we recommend this article from Medium as it’s a great study on how position, bodies and action framing affects our viewers.
This thought-piece instead focuses on how the psychology of camerawork and editing heavily impacts audiences in telling compelling narratives, highlighting current VR filmmaking experiences (links below) that exemplify what’s achievable.
The most important principle to remember is that the audience is viewing a story through the eyes of the camera. How the camera moves or positions itself within a film or scene directly affects how information is interpreted. Decisions in framing and motion ultimately shape the story being told. 360 filmmaking is no exception.
In motion
The use of motion – or the absence of it – speaks volumes in shaping emotional narrative structure. Help uses movement to follow the path of a rampaging monster, immersing the viewer in both the chaos of the hunt and the struggles of the humans fleeing. A similar method is found in the Gorillaz music video, where drifting sensations indicate the reflective state of mind of the characters while creating an endless void for the viewer. Both examples demonstrate how carefully orchestrated movement – when designed with audience response in mind – elevates immersion.
In stasis
When motion is absent, as in Pearl, information and emotional resonance become vital. The static positioning persuades viewers to focus more intently on the emotional narrative. Clever camerawork allows the viewer to feel like a passenger, friend or family member, deepening emotional connection. The subtle pan towards the father at the end – the only camera movement in the entire animation – delivers a profound emotional impact.
A static position can also help focus attention on story and information. Fossil Hunters, though unscripted, uses photographs, archive footage and overlays to guide the audience. The steady positioning prevents distraction and helps ensure focus remains where intended.
The single take
Many standout 360 videos are shot in a single take – including Gorillaz, OneRepublic and Help. In traditional cinema, long uninterrupted shots are used to heighten impact and allow viewers freedom of focus. The same applies in 360, where carefully planned depth of space and actor movement help maintain engagement without cuts. The Invasion is a strong example, using a single static position while characters move through the z-space – creating layers of depth.
When to cut
Editing in 360 can be divisive. Harsh cuts often risk disorientation, yet when applied appropriately, they amplify immersion. 1941 Reenactment and French Foreign Legion embrace jump cuts to reflect disorientation fitting to their subject matter, while A Miracle of Nature uses soft transitional fades for a calming effect.
Pearl demonstrates how editing works when combined with a stable point of reference. The car interior anchors the viewer, minimising disorientation despite cuts. Similarly, The Recruit uses constant objects – such as a desk and performer – to guide focus while time and setting change.
Technique is everything
360 filmmaking remains an emerging storytelling form, with creators still exploring its best practices. Unlike traditional media, audiences must actively commit to immersing themselves, shutting off from distractions to engage fully. This is a tremendous opportunity – but also a responsibility. The wrong technique risks breaking immersion and losing attention.
As with any production, both context and audience reaction must shape the technical and creative approach. Whether the purpose is to educate, inspire or tell a compelling story, psychology is central to narrative design. Filmmakers must continually ask: how should the audience react to this experience?
There is a misconception that strong filmmaking cannot be achieved in 360 video. Infinite Form disagrees. Compelling 360 storytelling is not only possible – it thrives when the right techniques are matched to the right projects.
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