Cinematic Space in Virtual Production

Abstract

In this article, I aim to examine the ways virtual technologies have affected on the arrangement of the cinema space. Virtual technologies are eventually referenced here as virtual production (VP), which makes it possible for filmmakers to mix live footage and computer graphics interactively while filming on set. The cinema space, respectively, is delineated along the views provided by the enactive approach and neuroscience of emotion. The enactive approach in cognitive science describes the relationship of a human being to her environment as an embodied experience, and neuroscience of emotion bridges the gap needed to understand the role of an enactive system in meaning-making. I will also focus on how the concept of digital cinema has evolved since its beginning from the perspective of both practice and theory. I render how digital cinema first resembled in its functions the traditional glass matte paintings behind the character and gradually turned into manifesting an essential hookup between the filmmakers and digital content. I wish to abandon the idea that digital image just represents a pictorial illusion of reality and instead see it making possible a lifelike simulation of the digital environments throughout the filmmaking process, eventually blending the borders of pre-, production and postproduction phases. This weaving of interactive digital tools into cinema practice has created new approaches, which tend to emphasize intense body-related experiences, thus conveying a thickened sense of immersive presence in the film experience.