Cinematic Virtual Reality (CVR), or 360° video, engages users in immersive viewing experiences. However, as users watch one part of the 360° view, they will necessarily miss out on events happening in other parts of the sphere. Consequently, fear of missing out (FOMO) is unavoidable. However, users can also experience the joy of missing out (JOMO). In a repeated measures, mixed methods design, we examined the fear and joy of missing out (FOMO and JOMO) and sense of presence in two repeat viewings of a 360° film using a head-mounted display. We found that users experienced both FOMO and JOMO. FOMO was caused by the users’ awareness of parallel events in the spherical view, but users also experienced JOMO. FOMO did not compromise viewers’ sense of presence, and FOMO also decreased in the second viewing session, while JOMO remained constant. The findings suggest that FOMO and JOMO can be two integral qualities in an immersive video viewing experience and that FOMO may not be as negative a factor as previously thought.

This paper examines the effects of participants' preferred point of view of two protagonists, and their motivation for this preference, on two viewings of a cinematic 360-degree video filmed from the first person perspective. Before watching the film, which dramatized gender bias in a STEM workplace, participants were asked to state whether they preferred to view the film from the point of view (POV) of a male protagonist, a female protagonist, or make no selection. They were then asked why they held this preference. Their answers were predictive. Participants' tracked head movements, and the events participants recalled from the film, differed according to their pre-stated preference and motivation.

This paper examines the sense of presence, attitude change, perspective-taking, and usability of a split-sphere, first-person perspective 360 degree video about gender inequality, in which people can choose to watch the narrative from the male or female character's perspective. Sixty-seven participants were randomly assigned to watch (1) the video in 360 degree split-view in a head-mounted display, (2) the same film as 180 degree in a HMD, or (3) a flat control version of the video on a laptop. The 360 degree split-sphere increased the viewers' feeling of personal responsibility for resolving gender inequality, desire to rewatch the video, fear of missing out, and feeling of missing the full story. The 180 degree video created the strongest sense of presence, embodiment, and understanding of the character. However, people with greater egocentric projection onto the male character felt less responsible for resolving gender inequality, particularly in the 360 degree split-view.