philip lelyveld The world of entertainment technology

Virtual reality journalism is an emerging genre, practiced by innovative storytellers who regularly encounter new ethical and editorial issues, as demonstrated in the case studies above. These guidelines are informed by the experiences and insights of these early practitioners, who have negotiated some of the thorniest issues presented by this immersive medium to date. They are not intended to be comprehensive, nor could they be. They are based upon existing, widely adopted ethical standards and practices from other media, and will sound familiar to journalists who have worked for reputable news organizations. Just as with other media, journalists working in VR are encouraged to seek guidance and feedback on these issues from senior editorial managers and colleagues when ethical issues arise.

VR is a powerful medium, combining visual, aural and physical material to create an intensely immersive, informative and emotional experience. Producers should always consider this extraordinary potential impact and strive to use it in a way that satisfies the traditional standards of journalism: accuracy, fairness and transparency.

Accuracy

1. As in all journalistic media, the core value of VR journalism is accuracy. The layers of visuals and sounds comprising a 3D environment must present the viewer with an accurate representation of reality.
2. In creating a 3D environment, producers should consult multiple sources in recreating such environments to ensure the original space is accurately represented.
3. As a general rule, while VR producers must often adjust images in a 3D environment for scale and proportionality, elements within the images should not be added, subtracted or rearranged in a way that is not supported by the facts. If an element is placed into an environment for storytelling purposes that does not appear in the original space, producers must make it clear to viewers that this has taken place.
4. Natural sound and sound effects are often used to create a more authentic and immersive 3D experience. Sound should only be added or edited if it helps convey an accurate understanding of the scene or story to the viewer.
5. Music should be appropriate and in keeping with the narrative. As with other sound effects, VR producers should guard against using music that will create an impression for the viewer that is either distorted or inaccurate.
6. Current procedural and technological limitations make it challenging to capture every scene or element within a VR story in 3D. As a result, the use of animation, re-creation and dramatizations can be very effective and, in many cases, necessary. In some instances, viewers may be confused as to the authenticity of these elements. In any situation that presents a risk of confusion or misleading viewers, they should be clearly labeled or otherwise signaled.

Fairness

1. As with all ethical journalism, VR producers must treat their subject matter and the people featured in the piece fairly in order to ensure the credibility of the report.
2. Early research suggests that viewers may identify more strongly with perspectives presented in VR than to more traditional, 2D media. While fairness does not demand that equal time be accorded to all conflicting viewpoints or opinions, it does require the acknowledgment and responsible statement of significant conflicting views. In presenting alternate viewpoints, producers should keep in mind that research suggests viewers may not register some forms of data, including titles and voice-overs, in a VRexperience, as a result of being preoccupied by the visceral, physical sensation of “being there.” As viewers become more accustomed to the medium, this effect may diminish, but more research to determine whether this is indeed the case is required.
3. While a viewer’s agency within a walk-around 3D environment can create a more immersive experience, the audience may miss key facts or pieces of information if they choose not to explore or interact with certain story elements. Producers may find it helpful to use tools such as text, sound and light to alert viewers to such key elements, and/or find ways to ensure they are communicated regardless of a viewer’s choice to interact.
4. Because of the visceral impact of a virtual reality experience, producers should consider providing appropriate warnings if the production includes scenes that may be shocking, gruesome, explicit or sensitive. And, as with any kind of journalism, producers should be sensitive to the potential impact of the story on people featured in it or on those close to them; e.g., victims of violence or their families. In many cases, producers and editors may find it appropriate to blur such images or to depict them in a stylized way.

Transparency

1. Because VR can give viewers the agency to explore a story firsthand, they may be unaware of the extent to which a piece has been intentionally directed and designed. In an effort to address this, producers should be transparent about their production techniques and how those techniques impact the perception of reality or recreations. In all cases, a guiding principle should always be to avoid misleading viewers. Many news organizations provide stories accompanying VR productions to explain to viewers how the piece was produced and answer likely questions about the authenticity of the story. Alternatively, these disclosures can be provided by whatever means will ensure that viewers have a clear understanding.
2. Current technological limits require 3D interviews to be succinct and that each bite of sync used is from one continuous take. As a result, producers must sometimes prep interviewees more extensively than they would in more conventional mediums. In doing so, producers should have a goal of helping an interviewee communicate clearly and concisely, without changing the meaning of their statements. In cases in which significant prep work has been required for an interview, this process should be disclosed to viewers.