Creative Portfolio (CVR)
The practices are presented in 360-degree cinematic virtual reality and are best experienced through a VR headset. For accessibility and presentation purposes, a 2D online-web version is also available, which allows for basic viewing via mouse navigation, watching in 2D screen will not provide the intended experience and may result in distorted images.
1. The Road to Yesterday (2025) investigates an underexplored area within cinematic virtual reality (CVR) scholarship: the creative and affective potential of sound design. Moving beyond technical concerns such as spatial fidelity and localization, this practice-as-research (PaR) study introduces the concept of ‘haptic sound’- a theoretical extension of Laura Marks’ ‘haptic visuality’ into the auditory domain. The term refers to embodied, affective listening that engages with the unrepresentability of traumatic memory in CVR documentary. Drawing on the CVR poetic documentary The Road to Yesterday, it explores three interconnected techniques: (1) low-frequency audio to create bodily resonance; (2) selectively spatialized environmental sound to deepen immersion while preserving narrative clarity by keeping music and voice-over non-spatialized; (3) vibrotactile feedback synchronized with sonic events to simulate tactile sensations. These strategies together create a sense of sonic tactility.
2. Walking into Dream (2025) is a hybrid cinematic and immersive experience that integrates CVR narrative, projections (Projection 1, 2) and a physical memory display platform. Multi-device storytelling constructs a fragmented but cohesive narrative exploring personal memory, cultural memory, and trauma grief processing. I employed stop-motion animation techniques within 360-degree CVR scenes, proposing the CVR documentary as an affect-based, non-representational account of trauma. This approach extends current research on the affective potential of documentary form.
3. Embodiment viewpoint modes practice (2024) explores the concept of viewer embodiment and its connection to the cinematic concept of narrative viewpoint. CVR is a subcategory of VR known as ‘cinematic virtual reality’ (CVR), which refers to VR-based film or 360- degree video content that focuses on immersive viewing experiences, most associated with three degrees of freedom (3DoF) experience allowing the viewer to look up and down and to rotate left and right from a fixed central axis. CVR is a distinct storytelling medium, unlike traditional 2D screen film, the narrative experience offered in the 360-degree VR documentary format is not confined within a screen. Many research has been done on embodiment and presence in relation to Virtual Reality (VR), however, there is a lack of existing literature on the narrative effects of embodiment and viewpoint in narrative CVR films (Palma Stade, T., Schofield, G. & Moore, G. 2023). I defined three viewpoint experience in 3-DoF format CVR: protagonist, observer/ witness, and omniscient viewpoint.
5. Between Us, the Clouds（2024）is a short experiment that explores the intersection of traditional poetic documentary mode and cinematic virtual reality (CVR). It investigates how lyricism and sensory immersion can co-construct affective meaning in non-linear memory narratives. By integrating camera movement within a 360-degree environment and embedding subtitles, the work examines how poem and textual rhythm can guide emotional engagement and subjective interpretation in immersive space. This experiment contributes to ongoing inquiries into how poetic strategies in documentary can be adapted and expanded through the affordances of CVR.
6. The Sound of the City (2023) captures everyday life in central London, allowing immersnts to experience the city through an embodied sonic perspective where sound moves naturally around them. I studied the Introduction to Spatial Audio course at UCL, where I gained hands-on experience with Ambisonic recording, spatial mixing, and integrating immersive audio with 360° video. This training deepened my understanding of spatial perception and how sound can enhance immersion in VR storytelling.