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Immersion & Narration

Despite "Immersion" is nowadays a modern term, often associated with virtual reality and/or gaming, immersion is a well known phenomenon in traditional movies: It can be described as successfully getting involved in a story/a fictional world/some kind of narration - it is a phenomena of reception. Being an individual experience there are other definitions possible: So immersion can be defined by its sensoriomotor/illusive potential, too.
The fulldome media is offering a more intensive (spatial) experience - even compared to stereoscopic 3D. The film expands beyond its traditional boundaries, its classical frames. The fulldome media enables or at least abets a (spatial) involvement. Instead of sitting in front of the screen (like we do in cinema) the audience is surrounded by the movie 360° to 180° degrees. Designers and movie makers are getting a whole new set of aesthetic and narrative ways of creating their movies within the dome.
The assignments of fulldome movie makers differ from traditional ways of shooting a film as well because the audience´s status is about to change in the dome. The audience itself co-designs the movie/its audiovisual facets using the individuals´ senses.
Everybody is cutting the movie with his or her own eyes moving the head around within the dome.
Fulldome movies production is much more complex than traditional workflows - movies in real footage for example are filmed via fisheye lenses or multi camera rigs.
Common places to watch a fulldome movie are modern planetaria and media domes. Their worldwide number is growing. The range of content is growing, too. There are fictional movies and interactive games, even VJs are using the dome for their performances.

Soenke Hahn is interested in the aesthetical differences between classical and fulldome films. He is focussing on the narrative differences in theory and praxis. In his Ph.D. thesis - focussing Michel Foucault´s Heterotopia - Hahn developes a defintion of immersion - including controversial aspects such as narrative and illusive immersion, necessary fixation of the body to immerse vs physical participation (Wii for example).

  • Die Sechsfalt der Immersion:
    Versuch der (diskursiver) Definition
    eines vielschichtigen Konzeptes
    (Six Points of Immersive Diversity: An Discursive Approach
    Of Defining A Complex Concept)

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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.
    (Fulldome vs. 16:9: Differences in Conception, Design and Production of a Movie in Fulldome and Classical Frames
    Using the example of the short movie "breakFAST"

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& Workshops

  • "Experimenting with a Mulitcamera Rig.
    Shooting Fulldome in Real Footage.
    Challenges, Problems and Workflow",
    FullDome Festival 2013,
    Carl Zeiss Planetarium, Jena

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  • "Fulldome vs. 16:9"
    (zur differenten Gestaltung und
    Konzeption von Fulldome und 16:9),
    "Koordinaten Festival
    der räumlichen Medien 2012",
    FH Kiel

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  • "Liszt - Reimagined"
    short movie: Fulldome (3k)
    running time: approx. 5 min., 2010

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  • "breakFAST"
    short movie: 16:9 (SD), Fulldome (3k)
    running time: approx. 5 min., 2011/12

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  • "Fulldome Meme"
    music video: Fulldome (3k)
    running time: approx. 30 sek., 2013

  • "Habitat"
    Film/Serie: 16:9 (HD), Fulldome (3k)
    running time: approx. 2x5 min., 2013
    Part of Ph.D. Thesis

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  • "Fulldome explained"
    Film: 16:9 (HD)
    running time: approx. 5 min., 2014-17

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