360-degree filming and head-mounted displays (HMDs) give recorded media a new sense of space. Theatre practitioners' expertise in manipulating spatial interactions has much to contribute to immersive recorded content. Four theatre directors led teams of three actors to stage the same scene for both immersive theatre and for 360-degree filming. Each team was recorded performing the scene at least six times, three in each condition, to extract actors' coordinates. This study establishes how to quantify theatre practitioners' use of spatial interactions and examines the spatial adaptations made when transferring these relationships to 360-degree filming.

We conducted a study to explore the values and qualities of 'grassroots documentaries', framed around the production of two parallel documentary films with a London-based opera company. A team of professional filmmakers produced one film and the other was an exploratory form of grassroots documentary. We studied the different production activities through observations, interviews and a reflective workshop at the end of the study and evaluated the resulting films. Our analysis reveals critical insights that could inform the next generation of technological systems to support user-generated video content (UGVC) production, particularly in collaborative contexts such as grassroots communities.

Creating film content for broadcast is a high pressure and complex activity involving multiple experts and highly specialized equipment. Production teams are under continuous pressure to produce ever more creative and groundbreaking content while reducing the budgets and human resources required. While technologies are being developed for digitizing and streamlining sections of the production workflow, a gap remains between creative decisions made on location, and those made during digital editing and post-production. We describe a prototype tangible, tabletop interface to be deployed on a film shoot, which uses a storyboard as a shared data representation to drive team creativity. We define creativity in terms of team production, discuss our implementation and describe a deployment in which the prototype was used by a professional production team during a film shoot. Finally we describe a number of interesting interactions that were observed and consider the implications of our design decisions on the creative process of film making and the benefits of tangible, tabletop collaborative interactive displays in live film production.