Immersive journalism

Dynamic Vs traditional storytelling

  • Linear vs branched story structure-
    -Linear = The order a story is presented is vital for its understanding. more important, linear storytelling requires there to be a “giver” of information = journalists and a “receiver” = the public
  • Branched: 
  • Passive Vs active consumption
  • Passive observers have limited control over how a story progresses. a journalist guides them through the narrative and packages the information in a fixed order.
  • Active participants have the ability to affect how their experience evolves. They have the freedom to dictate how they consume information, whether thats rough movement, interaction or story structure. 

We want people to be more active, but they need to want to be more active. 

  • Put the audience at the centre of the process. User choice can drive higher levels of impact and participation. Stories can be structured with the audience in mind to allow a participant to uncover virtual elements while piecing together narrative.
  • Create an experience that lives across platforms. Including elements such as interactive graphics, flat or 360 videos and photos that can be distributed through traditional channels and can promote and drive more traffic to the immersive story package as a whole. 
  • Leverage the expertise of everyone in the newsroom. Early adopters will become experts on his new storytelling model, but it doesn’t mean that knowledge should be confined to only a small group. Share dynamic storytelling and collaborate to expand editorial innovation.
  • Test and iterate throughout the process. Since dynamic storytelling doesn’t follow a structured formula, feedback is needed from conception, through design and execution. 

Empathy:

  • what we’re doing often elicits an emotional response. But that isn’t part of our agenda – So we don’t think about empathy in the way that I think a lot of VR is being used in documentary for example, or campaigns. 

Vr for news

  • emerged from its early experimental phase to become a more integrated part of many newsrooms
  • Key motivations for media organisations to launch VR apps to audiences. They want brand innovation, and to show they’re looking to the future. 
  • Journalists and news organisations devoting more time to thinking about what works in VR, and as a result news VR is expanding beyond its early documentary focus. Most companies admit there is still not enough “good content” to drive an audience. 
  • Most news VR is actually 360 video rather than fully immersive VR, and is most likely to be viewed on a mobile device used as a “magic window” or in a browser by current audiences. 
  • News organisations using VR tend to have a central team to provide edit and publish VR content, but train journalists to use 360 degree footage.