This paper introduces a cognitive psychological experiment that was conducted to analyze how traditional film editing methods and the application of cognitive event segmentation theory perform in virtual reality (VR). Thirty volunteers were recruited and asked to watch a series of short VR videos designed in three dimensions: time, action (characters), and space. Electroencephalograms (EEG) were recorded simultaneously during their participation. Subjective results show that any of the editing methods used would lead to an increased load and reduced immersion. Furthermore, the cognition of event segmentation theory also plays an instructive role in VR editing, with differences mainly focusing on frontal, parietal, and central regions. On this basis, visual evoked potential (VEP) analysis was performed, and the standardized low-resolution brain electromagnetic tomography algorithm (sLORETA) traceability method was used to analyze the data. The results of the VEP analysis suggest that shearing usually elicits a late event-related potential component, while the sources of VEP are mainly the frontal and parietal lobes. The insights derived from this work can be used as guidance for VR content creation, allowing VR image editing to reveal greater richness and unique beauty.

Previous research comparing traditional two-dimensional (2D) and virtual reality with stereoscopic vision (VR-3D) stimulations revealed that VR-3D resulted in higher levels of immersion. However, the effects of these two visual modes on emotional stimulus processing have not been thoroughly investigated, and the underlying neural processing mechanisms remain unclear. Thus, this paper introduced a cognitive psychological experiment that was conducted to investigate how these two visual modes influence emotional processing. To reduce fatigue, participants (n = 16) were randomly assigned to watch a series of 2D and VR-3D short emotional videos for two days. During their participation, electroencephalograms (EEG) were recorded simultaneously. The results showed that even in the absence of sound, visual stimuli in the VR environment significantly increased emotional arousal, especially in the frontal region, parietal region, temporal region, and occipital region. On this basis, visual evoked potential (VEP) analysis was performed. VR stimulation compared to 2D led to a larger P1 component amplitude, while VEP analysis based on the time course of the late event-related potential component revealed that, after 1200 ms, the differences across visual modes became stable and significant. Furthermore, the results also confirmed that VEP in the early stages is more sensitive to emotions and presumably there are corresponding emotion regulation mechanisms in the late stages.

This paper presents a cognitive psychology experiment to explore the differences between 2D and virtual reality (VR) film editing techniques. We recruited sixteen volunteers to view a range of different display modes and edit types of experimental material. An electroencephalogram (EEG) was recorded simultaneously while the participants watched. Subjective results showed that the VR mode reflects higher load scores, particularly in the effort dimension. Different editing types have no effect on subjective immersion scores. The VR mode elicited stronger EEG energy, with differences concentrated in the occipital, parietal, and central regions. On the basis of this, visual evoked potential (VEP) analyses were conducted, and the results indicated that VR mode triggered greater spatial attention, while editing in 2D mode induced stronger semantic updating and active understanding. Furthermore, we found that while the effect of different edit types in both display modes is similar, cross-axis editing triggered greater cognitive violations than continuity editing, which could serve as scientific theoretical support for the development of future VR film editing techniques.