{"id":40874,"date":"2025-01-22T07:23:27","date_gmt":"2025-01-22T07:23:27","guid":{"rendered":"https:\/\/peraltafinancing.com\/animation\/a-narrative-driven-approach-to-staging-environments-for-the-360-degree-animation-coffin-room-2024\/"},"modified":"2025-01-22T07:23:27","modified_gmt":"2025-01-22T07:23:27","slug":"a-narrative-driven-approach-to-staging-environments-for-the-360-degree-animation-coffin-room-2024","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=40874","title":{"rendered":"A Narrative-driven Approach to Staging Environments for the 360-Degree Animation Coffin Room (2024)"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div>\n<p><em>This contribution is the second post of a <a href=\"https:\/\/blog.animationstudies.org\/?p=7054\" target=\"_blank\" rel=\"noreferrer noopener\">two-part series<\/a> on the creative production of Wing Yan Kwan and Lam Le\u2019s Coffin <\/em>Room (2024)<em>.<\/em><\/p>\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n<p>Confined in a small apartment, cramped with a tiny bunk bed, old furniture, canned foods, and scattered with used tissues and towels. Suffocated in dirty air, constantly coughing and struggling to fight off cockroaches, while barely able to move. This is the harsh reality faced by the main character in the 360-degree animation, <em><a href=\"https:\/\/www.youtube.com\/watch?v=0Eq6Vnmsiwk\" target=\"_blank\" rel=\"noreferrer noopener\">Coffin Room<\/a><\/em> (2024). The animation portrays an elderly couple struggling to survive inside a Hong Kong Coffin House\u2014a tiny, substandard apartment complex designed for low-income residents.<\/p>\n<p>As the Environmental Designer, this part of the series explores the creative process behind the environment design of <em>Coffin Room<\/em>, focusing on the narrative-driven approaches to cinematography in 360-degree animation. Unlike conventional graphical projection onto two-dimensional surfaces, 360-degree animation offers a spatial experience that represents scenes volumetrically, providing viewers with the freedom to rotate, move within the space, select their field of view, pause, and rewatch scenes (Barnard, 2024). This shifts the viewer\u2019s focus towards finding clues and navigating the environment, allowing them to explore and interpret the scenes for themselves. While much quantitative research has focused on technical aspects like minimizing motion sickness (Bless et al. 2001) and maintaining audience attention (G\u00f6dde et al. 2018), less focus has been given to how VR and 360-degree animation can be explored for conceptual approaches to cinematography. Designing environments in 360-degree animation, therefore, requires specialized methods. The approach in <em>Coffin Room<\/em> centered around two main concepts: <em>environment staging<\/em> and <em>camera placement<\/em>.<\/p>\n<figure class=\"wp-block-image size-large\"><a href=\"http:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Front_view_of_the_Environment_Design_in_Coffin_Room_2024.jpg\"><img fetchpriority=\"high\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"http:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Front_view_of_the_Environment_Design_in_Coffin_Room_2024-1024x768.jpg\" alt=\"\" class=\"wp-image-7066\" srcset=\"https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Front_view_of_the_Environment_Design_in_Coffin_Room_2024-1024x768.jpg 1024w, https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Front_view_of_the_Environment_Design_in_Coffin_Room_2024-300x225.jpg 300w, https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Front_view_of_the_Environment_Design_in_Coffin_Room_2024-768x576.jpg 768w, https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Front_view_of_the_Environment_Design_in_Coffin_Room_2024.jpg 1357w\" sizes=\"(max-width: 1024px) 100vw, 1024px\"\/><\/a><figcaption class=\"wp-element-caption\"><strong>Figure 1. Front view of the Environment Design from the scenes taking place in the present in <em>Coffin Room <\/em>(2024). <\/strong><\/figcaption><\/figure>\n<p>Environment staging<em>,<\/em> also referred to as environmental storytelling, played a crucial role during the development stage. The aim was to offer viewers an authentic representation of Hong Kong\u2019s coffin homes\u2014creating an experience of living in cramped, suffocating, and unfit living conditions, not just for the elderly couple but for anyone. To depict this,\u00a0 the actual measurements from the apartment complexes were used for the room sizes, as well as the employment of photo-scanning techniques for props that reflect Hong Kong culture, like dirty tile floors, flashing neon lights, shopping bags, blankets, old fans, rice cookers, and tangled electrical cords. See figure 2.<\/p>\n<figure class=\"wp-block-image size-full\"><a href=\"http:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Figure_2_photo-scanning_for_clothes_on_the_wall_for_Coffin_Room_2024.png\"><img loading=\"lazy\" decoding=\"async\" width=\"512\" height=\"358\" src=\"http:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Figure_2_photo-scanning_for_clothes_on_the_wall_for_Coffin_Room_2024.png\" alt=\"\" class=\"wp-image-7070\" srcset=\"https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Figure_2_photo-scanning_for_clothes_on_the_wall_for_Coffin_Room_2024.png 512w, https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Figure_2_photo-scanning_for_clothes_on_the_wall_for_Coffin_Room_2024-300x210.png 300w\" sizes=\"auto, (max-width: 512px) 100vw, 512px\"\/><\/a><figcaption class=\"wp-element-caption\"><strong>Figure 2. Work in Progress of using photo-scanning for clothes on the wall for <em>Coffin Room<\/em> (2024).<\/strong><\/figcaption><\/figure>\n<p>The placement of these props was strategic; they were positioned either closer to or further from the camera to guide the viewer\u2019s attention to specific clues about the couple\u2019s life and circumstances. For instance, posters about Hong Kong\u2019s rental crisis or calendars were placed near the camera to emphasize the story\u2019s social context. Other props, such as cardboard boxes symbolizing the wife\u2019s job and a walking frame hinting at the husband\u2019s disability, helped deepen the viewer\u2019s understanding of the character\u2019s struggles. These elements show how the design connects the physical setting with the narrative, making the story come to life. While viewers are encouraged to look around using environmental storytelling, there are also intentional restrictions to the field of view by positioning the camera in the room\u2019s corner, limiting the viewer\u2019s field of vision to about 90 degrees. See figure 3. This was done to reinforce the sense of physical confinement. The limited view draws attention to specific details, enhancing the sense of tightness within the space and amplifying the feeling of suffocation. The camera was positioned directly in front of the husband\u2019s spot, encouraging viewers to adopt his point of view and feel like they were in his shoes. This method mirrors the husband\u2019s disability, making viewers experience the same frustration and claustrophobia. It forces them to move and act as he would, which guides them to narrate and interpret the story from his perspective.<\/p>\n<div class=\"wp-block-group is-content-justification-left is-nowrap is-layout-flex wp-container-core-group-is-layout-1 wp-block-group-is-layout-flex\">\n<figure class=\"wp-block-image size-full\"><a href=\"http:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Figure_3_Asset_1.png\"><img loading=\"lazy\" decoding=\"async\" width=\"434\" height=\"512\" src=\"http:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Figure_3_Asset_1.png\" alt=\"\" class=\"wp-image-7072\" srcset=\"https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Figure_3_Asset_1.png 434w, https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Figure_3_Asset_1-254x300.png 254w\" sizes=\"auto, (max-width: 434px) 100vw, 434px\"\/><\/a><figcaption class=\"wp-element-caption\"><strong>Figure 3. Camera placement of the room from the present scene in <em>Coffin Room<\/em> (2024).<\/strong><\/figcaption><\/figure>\n<figure class=\"wp-block-image size-large\"><a href=\"http:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Figure_3_present.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"511\" src=\"http:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Figure_3_present-1024x511.jpg\" alt=\"\" class=\"wp-image-7073\" srcset=\"https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Figure_3_present-1024x511.jpg 1024w, https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Figure_3_present-300x150.jpg 300w, https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Figure_3_present-768x383.jpg 768w, https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Figure_3_present-1536x766.jpg 1536w, https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Figure_3_present.jpg 1920w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><\/a><\/figure>\n<\/div>\n<p>Apart from depicting the grim reality of coffin homes, flashback scenes were included to show the couple\u2019s life in the past in a more spacious apartment. These scenes utilized the full 360-degree field of view, the widest field of view the viewers had experienced, symbolizing the freedom the characters once had while enjoying a stable income. Combined with environmental staging\u2014such as higher ceilings, organized props, and natural lighting\u2014the visual contrast between the couple\u2019s past and present living conditions became strikingly clear. See figure 4.<\/p>\n<div class=\"wp-block-group is-nowrap is-layout-flex wp-container-core-group-is-layout-2 wp-block-group-is-layout-flex\">\n<figure class=\"wp-block-image size-full\"><a href=\"http:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Figure_4_Asset.png\"><img loading=\"lazy\" decoding=\"async\" width=\"408\" height=\"513\" src=\"http:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Figure_4_Asset.png\" alt=\"\" class=\"wp-image-7078\" srcset=\"https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Figure_4_Asset.png 408w, https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Figure_4_Asset-239x300.png 239w\" sizes=\"auto, (max-width: 408px) 100vw, 408px\"\/><\/a><figcaption class=\"wp-element-caption\"><strong>Figure 4. Camera Placements of the room from the scenes taking place in the past in <em>Coffin Room<\/em> (2024).<\/strong><\/figcaption><\/figure>\n<figure class=\"wp-block-image size-large\"><a href=\"http:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Figure_4_past.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"510\" src=\"http:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Figure_4_past-1024x510.jpg\" alt=\"\" class=\"wp-image-7079\" srcset=\"https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Figure_4_past-1024x510.jpg 1024w, https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Figure_4_past-300x149.jpg 300w, https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Figure_4_past-768x382.jpg 768w, https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Figure_4_past-1536x765.jpg 1536w, https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/12\/Figure_4_past.jpg 1920w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><\/a><\/figure>\n<\/div>\n<p>The use of these methods suggests that environment design in VR and 360-degree animation can be a powerful tool for narrative storytelling. As VR storytelling continues to evolve, it opens new possibilities for creators. Ole Christoffer Haga (2019: 107) articulates new potential areas for 360 animation, stating that, \u201cFuture works within narrative VR will likely be even more multifaceted, requiring further assessments of the tension between narrative comprehension and the sense of spatial presence\u201d. Through the work on <em>Coffin Room<\/em>, our goal is to inspire animators and filmmakers to explore the potential of VR and 360-degree environment design, pushing it beyond traditional methods without being confined to conventional approaches.<\/p>\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n<p><strong>References<\/strong><\/p>\n<p>Barnard, D. \u201cHistory of VR-Timeline of Events and Tech Development.\u201d Virtual Speech, 2024.<\/p>\n<p>Bles, W. and Wertheim, A. H. \u201cAppropriate Use of Virtual Environments to Minimise Motion Sickness.\u201d 2001.<\/p>\n<p>G\u00f6dde, M., Gabler, F., Siegmund, D., and Braun, A. \u201cCinematic narration in VR\u2013rethinking film conventions for 360 degrees.\u201d In Virtual, Augmented and Mixed Reality: Applications in Health, Cultural Heritage, and Industry: 10th International Conference, VAMR 2018, Held as Part of HCI International 2018, Las Vegas, NV, USA, July 15-20, 2018, Proceedings, Part II 10, pp. 184-201. Springer International Publishing, 2018.<\/p>\n<p>Haga, O. C. <em>Animated storytelling in 360 degrees<\/em>. Master\u2019s thesis, Inland Norway University, 2019.<\/p>\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n<p><em><strong>Lam Le<\/strong> is a Melbourne-based multimedia designer who graduated in 2024 with a Master of Animation, Games, and Interactivity from RMIT University. Specializing in 3D animation, modelling, and environment design, her work is known for being vibrant and colorful, spanning across graphic design, illustration, web design, videography, and animation. Recent projects include <\/em>Coffin Room<em> (2024), which has been selected for several animation festivals, such as FIVARS, QLD XR, and Open World Animation, showcasing her ability to create engaging and immersive visual experiences.<\/em><\/p>\n<\/p><\/div>\n\n","protected":false},"excerpt":{"rendered":"<p>This contribution is the second post of a two-part series on the creative production of Wing Yan Kwan and Lam Le\u2019s Coffin Room (2024). Confined in a small apartment, cramped with a tiny bunk bed, old furniture, canned foods, and scattered with used tissues and towels. Suffocated in dirty air, constantly coughing and struggling to [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":40875,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12035],"tags":[23694,6119,11240,10235,19852,25768,688,13593],"dealstore":[],"offerexpiration":[],"class_list":["post-40874","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-animation","tag-360degree","tag-animation","tag-approach","tag-coffin","tag-environments","tag-narrativedriven","tag-room","tag-staging"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>A Narrative-driven Approach to Staging Environments for the 360-Degree Animation Coffin Room (2024) - Som2ny Network<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fivemor.com\/?p=40874\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A Narrative-driven Approach to Staging Environments for the 360-Degree Animation Coffin Room (2024) - Som2ny Network\" \/>\n<meta property=\"og:description\" content=\"This contribution is the second post of a two-part series on the creative production of Wing Yan Kwan and Lam Le\u2019s Coffin Room (2024). 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