Archaeology in 360 video

Ahh, 360! I’ve been wanting to play around with using 360 video in archaeology since seeing this video of the Hajj in 360–something that I will never be able to experience:

I also use this excellent example from the Crossrail Excavations for teaching and I love pointing out the various “actors” in the scene, the manager, the person recording, all these people standing over the two archaeologists digging up a plague pit:

Great use of diegetic sound, placement of camera, but the “actors” are oddly silent, as though waiting for the pesky camera to turn off before getting back into the ever-present trench chat. Maybe Crossrail thought it would be disrespectful to have discussion intrude into the excavation of a plague pit.

360 video would generally fall into what I’d call the phenomenological genre of archaeological filmmaking, granting the viewer the gaze of an archaeologist. The ability to pan around the scene provides a small modicum of agency to the viewer, a sense of being there in a way that eludes still photography and fixed-frame videography. There’s also the matter of surveillance and the panopticon (mentioned in the article above), so beware of abuse, obviously.

As the guest of the Elizabeth Castle Project in Jersey I took advantage of being there by trying out the 360 video camera (Insta360 One X) we have in the department. I knew there would be a learning curve, but it was great fun trying to figure out a new workflow, how to presence the archaeology, where to put the camera.

I was not very successful, particularly compared to the Crossrail video but I’ve learned a lot for the next go-round.

  • Put the 360 right in the middle of the trench. If it’s not in danger of being knocked down, it’s just not that interesting.
  • Get the remote bluetooth control working on your phone sooner rather than later. I have a lot of footage of me standing around looking like a jerk, staring at the 360 camera.
  • The file sizes are pretty huge so pushing them around while on fieldwork can be tricky. I had to wait to return to mess around with them much.
  • The editing software from the developers is pretty rubbish compared to FCP or Premiere. You can export your footage from this software into a file format that works with either of the above…but I haven’t quite gotten the hang of it.
  • Make sure, when you start the video, you want it to be facing the way you’d like to open the scene. Something more interesting than you staring down at it.

I’d like to be able to fit it in with still footage, add audio tracks, and just generally mess around with it a bit more, but for now, it’s a fantastic piece of kit for fieldwork. I’m also intrigued by composing the story of an archaeological excavation with a 360 camera. Would you narrate to the camera? Compose the shots to draw the eye to various elements within the scene? Have various archaeologist-“actors” yelling out for attention? Can someone buy me out for a year or two so I can play around with this damn thing??

The outtakes are pretty fabulously weird as well. I love that the device makes itself invisible…that’s a whole ‘nother discussion.

Author: colleenmorgan

Dr. Colleen Morgan (ORCID 0000-0001-6907-5535) is the Lecturer in Digital Archaeology and Heritage in the Department of Archaeology at the University of York. She conducts research on digital media and archaeology, with a special focus on embodiment, avatars, genetics and bioarchaeology. She is interested in building archaeological narratives with emerging technology, including photography, video, mobile and locative devices. Through archaeological making she explores past lifeways and our current understanding of heritage, especially regarding issues of authority, authenticity, and identity.

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