This work focuses on scripted fiction as a desirable end-goal from 360° filmmaking. This is an assumption being made. It's entirely possible that exploring a medium for its storytelling potential would be a, while not uninteresting or necessarily worthless intellectual endeavor, practically useless. I, perhaps, could have spent this time analyzing the form of cartography, understanding how it could be used for storytelling.
I believe - Here, I assume - that scripted fiction is a desirable goal for 360° video.
Scripted fiction offers the greatest deal of narrative flexibility and cases, and allows for creative and unique setups. In other words, there are many more decisions to be made.
By focusing (in tone and effort) on scripted fiction, this work 'covers its bases', where production decisions are plentiful. Unscripted and nonfiction works have their own unique concerns. Particularly with editing, as editing can be useful in its pragmatic role, salvaging and supporting whatever footage one gets. Yet, many of the decisions stem from practicality, not creative efforts; this work is not intended as a pragmatic guide but a more to help one understand the work and it's possibilities. Scripted nonfiction has the greatest possibilities in form.
This work generally assumes the audience has a headset on when viewing 360 video, although - hopefully - the insight is fundamental such that it is applicable through other playback devices.
This video assumes one is familiar with film techniques. No film school required, nothing terribly advanced or non-intuitive, but many filmmaking terms and references will be used without bothering to explain to deeply.
I am assuming that 360 video will stick around in its present form. This assumption isn't necessary for the content of this thesis, but it is necessary for much of this work to be of some value.
I make this assumption because YouTube, Facebook, and - quite recently as I am nearing my conclusion of this work - Vimeo - are all very large video delivery platforms and they all support 360 video. They do not support other technologies. I assume that these platforms will likely be the ending location and delivery mechanism of many - if not most - 360 videos, and I do not consider any playback device technology that these platforms cannot deliver.
This work assumes that stories exist in the mind of the audience. To dive into the philosophy or metaphysical support for this assumption is needless, we will just assume it, as it does not need to be epistemologically knowable, but merely work as a functional model to start thinking about storytelling.
This work assumes that 360 video hardware will improve with technology. Cameras and playback resolution, primarily, was not deeply considered as a limitation. In other words, I gave hardware the benefit of the doubt.