Cinematic Virtual Reality (CVR) is a style of narrative-based Virtual Reality (VR) experience built on filmed or computer-generated 360-degree videos. Since CVR is becoming more popular and widely accessible, researchers and practitioners have been trying to address challenges such as the conflict between the viewer’s freedom of choice and the creator’s control over where to look, or the risk of missing key story elements due to such freedom. As part of the solution, CVR creators employ attention-guiding cues, introduce viewer interaction, and combine these two techniques into all-encompassing CVR production frameworks. However, there are very few CVR projects that embrace the various differences in the backgrounds, preferences, and expectations of each individual viewer. Further to this, they do not consider the content creator/owners’ perspective when presenting and digitizing stories from the real world, especially when considering viewer’s connection to the cultural significance contained. In this article, a case study is presented to explore the use of adaptability to viewer situations and the coherence to Māori (the indigenous people of New Zealand) storytelling contexts in CVR experiences. In the case study, we began with co-design sessions with storytellers from Te Rau Aroha Marae (an active Māori cultural heritage site in the deep south of New Zealand), about appropriate features to collect from visitors to a virtual storytelling event, then co-built personas as representative tools. 360-degree videos of pūrākau (stories) were then captured and presented via an adaptable VR system. Evaluations were conducted with the storytellers to validate the system and to collect reflections and opinions on both the use of CVR in Māori storytelling and the cultural appropriateness of CVR with adaptability. We conclude this article with a discussion of possible improvements for future CVR frameworks.

电影虚拟现实 (CVR) 是一种基于叙事的虚拟现实 (VR) 体验，建立在拍摄或计算机生成的 360 度视频之上。随着 CVR 变得越来越流行和广泛使用，研究人员和从业者一直在努力解决挑战，例如观众的选择自由与创作者对观看位置的控制之间的冲突，或者由于这种自由而错过关键故事元素的风险。作为解决方案的一部分，CVR 创建者采用注意力引导线索，引入观看者交互，并将这两种技术结合到包罗万象的 CVR 制作框架中。然而，很少有 CVR 项目能够包容每个观众的背景、偏好和期望的各种差异。除此之外，他们在呈现和数字化现实世界的故事时，特别是在考虑观众与所包含的文化意义的联系时，没有考虑内容创建者/所有者的观点。本文提出了一个案例研究，探讨CVR 体验中对观看者情境的适应性以及与毛利人（新西兰原住民）讲故事环境的连贯性。在案例研究中，我们首先与 Te Rau Aroha Marae（新西兰南部腹地的一个活跃的毛利文化遗产地）的讲故事者共同设计会议，讨论从虚拟讲故事活动的游客那里收集的适当特征，然后共同设计-建立人物角色作为代表性工具。然后，通过适应性强的 VR 系统捕捉并呈现 pūrākau（故事）的 360 度视频。我们与讲故事的人一起进行了评估，以验证该系统，并收集关于 CVR 在毛利讲故事中的使用以及 CVR 的文化适应性和适应性的反思和意见。我们通过讨论未来 CVR 框架的可能改进来结束本文。