The world has moved on from 360 video

Is 360 video dead? We asked Space Associate and Creative Director of Hey Green Raven, Ian Ravenscroft, for his take on the ways in which arts and cultural organisations are using and responding to the latest technological advances in content production…

As technological advances provide new ways for the cultural sector to create, it’s time to get ahead of the curve. But how do you choose which trends to follow and which to approach with caution? The answers may lie in the recent past.

A good example is 360 video. We’ve all seen it in one form or another. That slightly warped, spherical fishbowl view as you crane your necks to see a performance all around you. And for a while, the cultural sector went wild for 360 video. Dance in 360. Theatre in 360. Backstage in 360. You name it, it was filmed in 360.

Many in the sector will have learned a lot from these experiments and used the technology well. Some may even have found niche audiences through publishing them. But when was the last time you watched one? And did it justify being in that format?

The medium grew in popularity as the technology and distribution opportunities began to align, peaking between 2018 and 2020 when you could livestream in 360 on YouTube, watch in your web browser, or view in virtual reality headsets. Using fairly simple camera rigs or capture devices, arts and culture organisations could place audiences on stage, on location, or behind the scenes.

Undoubtedly, there have been some good use cases of 360 degree filming. The Sun Ladies documentary comes to mind, as well as the examples throughout Google’s Arts and Culture archive and creator-led animated Spotlight Stories series.

But now, 360 degree video in its present form has arguably had its moment. Technology has moved on. The industry has moved on. The hype train is headed for a new destination.

We are being bombarded with opportunities to present artistic, cultural, and heritage content in new ways. From game-engine driven platforms, to augmented reality-infused social media, or the array of subscriptions and services that will allow us to create visuals, capture movement, or enhance audio. Shiny trailers, commercial tie-ins, and slick technical demos promise original ways to engage audiences with new perspectives and experiences. But much like 360 video before, the value of these platforms to audiences is currently unproven.

For technical and production teams, these abilities have the potential to disrupt their industry and may even superpower some existing ways of working. But many of these technologies haven’t yet landed with large segments of the public, and digital footfall is either limited or too opaque to measure accurately.

In my role as a producer and consultant, I’m currently producing immersive experiences for virtual reality and have a history of using new technology to engage audiences. So I’m enthused by the storytelling opportunities and interactive possibilities.

But I also provide advice to arts, culture, and heritage organisations on their digital content and audiences so I’m hyper aware that when limited resources, capacity and budget come into play, these technologies aren’t always the right path for many institutions to follow.