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Fulldome vs. 16:9. Zu den Differenzen in Konzeption, Gestaltung und Produktion eines Spielfilms in der Kuppel und im klassischen Bildformat am Beispiel der Filmversionen von BREAKFAST

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Abstract

This article is an attempt to discribe the differences within the conception, design, and production of fulldome movies vs. conventional motion pictures. The source of this comparison is a field test: In the breakFAST project two movies were made – one a fulldome and one 16:9 movie. The same story was used to implement both movies. The short films serve as an example to show not only the differences between both medias, but also to present the challenges directors have faceing the design of fulldome movies. The article abides by the traditional methodes of movie making, which were used during the exemplary project. Observations of conceptual and procedural nature are mentioned – such as the problematic handling of classic film script nomenclature in fulldome projects. It is discripted, when the simultaneous production of both movies, both medias eventually has to come to an end. When their characteristic attributes start to dominate: In fulldome media there is a complex relationship between different spaces (for example between audiorium and filmic space). Serveral examples from both movies are used to explain the fulldome specific stress field of time and space, and its artistic consequences. The author tries to point out, that these characteristics cause a new way of thinking – not only fulldome designers have to redefine their habit, in the dome every recipient becomes a codesigner. The author tries to carve out the relevance of narrative fulldome movies, how important they are to ease the fulldome dispositive’s requirements and how crucial they can be to develop a specific fulldome aesthetic – someday there could be a new, unseen way of storytelling within the dome.

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Hahn, Sönke: Fulldome vs. 16:9. Zu den Differenzen in Konzeption, Gestaltung und Produktion eines Spielfilms in der Kuppel und im klassischen Bildformat am Beispiel der Filmversionen von BREAKFAST. In: : . Marburg: Schüren 2013, S. 133-147.http://dx.doi.org/10.25969/mediarep/18188
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