Vil Muhametsin: “I see immersive panoramas as one of the best documental format for capturing today's life”
Published on 04/03/13 in the section of Meetings
Today we begin a series of interviews with some of the best panographers of viewAt.org. We want to know more about their career and their work, so that we may learn from them something more about the world of panographic photography, the challenges that a photographer can find and their views on the world of 360º photography
We opened the session with Vil Muhametshin interview, one of the most active photographers on viewAt.org. He has been creating virtual tours since 2003 and he has worked in his country, Latvia, but also in other European countries, including France, Italy, Switzerland and Spain. In viewAt.org has published more than 400 panoramas, leaving us his intense professional activity and curiosity to show different views of the spaces he photographs.
Vil thank you very much for your availability and generosity in answering questions!
Since when do you start with photography?
It started way back in the USSR :) in those good old times of Soviet pioneers when I was attending photography course in the House of Young Technicians.
When and why did you incorporated panoramic photograph of your work?
Immersive part of my photographical biography started in 2003. We have been working on multimedia authoring projects for several years already, and at some point we got really bored of countless hours of computer work. So we've looked for something more interesting, dynamic and “vital” in the sense of life experience.
What do you think brings panoramic photography in the big picture?
It broadens horizons :) if seriously, I see immersive panoramas as one of the best documental format for capturing today's life and for reconstruction of the past. It's also a great “stage” for multimedia storytelling, helping you to bring the audience inside your story and allowing to create a game-type environment with integrated multimedia stuff.
Tell us about a panorama that has been particularly challenging for you in its creation.
To be honest I can't remember any specifically challenging panoramas. However there were a lot of “not-easy” ones, for example this view of the most famous Art Nouveau streets in Riga - when there were only a few minutes to raise the pneumatic mast and catch a short blink of the sun, rain and the rainbow in one panorama.
There's also a lot of fun when you work with scenographic panoramas or historical re-enactments:
here we have created an atmosphere of a medieval feast with help of just thirteen people from the restaurant staff and a little music band. They were moving with their plates around the hall for three times to make an impression of a crowded and loud event.
Or this recent one:
http://www.viewat.org/?id_aut=2751&id_pn=21841&sec=pn where we have tried to make a vision of how the sail of a local aristocracy could have looked like in the 17th century.
How you met viewAt.org?
It was quite a while ago that I've found this project on Internet. It was the first panorama resource that was designed the way I really liked :)
What brings viewAt.org to your work?
It is an excellent publishing tool for multimedia people and storytellers who are working in the field of immersive media. And of course the big thing is communication with other photographers (and storytellers :) and getting some kind of professional “reality check” of your work. There is nothing like Viewat out there :)
Do you think that with viewAt Pro accounts gets your work easier when you publish your panoramas and do you include all the new extra features?
Definitely. New features bring panorama publishing to the new level of interactivity and take off the limits of author's imagination :) I'm just starting to use ViewAt's new functionality – adding sound and photo hotspots to panoramas and making tours from several panoramas, but already now I can tell that I'm really satisfied with the new options that you've made available to ViewAt!