Immersive video differs from conventional flat 2D video in that it is experienced as 180-degree stereoscopic video on a head-mounted display, thereby eliciting bodily and spatial subjective experience. Previous studies have shown that viewing and interpersonal distance affect Presence; however, it remains insufficiently understood how Presence differences are related to psychological closeness to content. In the present study, we examined whether differences in Presence could increase viewers' psychological closeness to performers within the content. This psychological closeness was operationally defined as fan intensity. Specifically, a live performance by a Japanese idol group was recorded as 180-degree immersive video, and a high-Presence condition (1.2 m) and a low-Presence condition (7.6 m) were established by manipulating filming distance. Twenty-four participants with different levels of prior involvement, comprising Avid fans and Casual fans, experienced both conditions in a counterbalanced within-participants design. Fan intensity was measured before and after the experience as perceived psychological overlap between the self and the performers. The results showed that, compared with the low-Presence condition, the high-Presence condition significantly increased all Presence-related measures except the Slater-Usoh-Steed questionnaire, with the largest condition differences observed for Possible Actions, Social Presence, and Observability. Moreover, a mixed analysis of variance on changes in fan intensity revealed a significant main effect of Presence condition, indicating that the high-Presence video produced a greater increase in fan intensity than the low-Presence video. These findings suggest that filming distance in immersive video is not merely a factor that determines angle of view or composition, but a design variable that can enhance Presence and deepen fan intensity.

翻译：沉浸式视频与传统平面二维视频的不同之处在于，它通过头戴式显示器呈现为180度立体视频，从而引发身体性和空间性的主观体验。先前研究表明，观看距离和人际距离会影响临场感；然而，临场感差异如何与对内容的心理亲近性相关联仍未被充分理解。本研究考察了临场感差异是否能增强观众与内容中表演者的心理亲近性。这种心理亲近性在操作上被定义为粉丝情感强度。具体地，我们录制了一个日本偶像团体的现场表演，并将其转化为180度沉浸式视频，通过操控拍摄距离建立了高临场感条件（1.2米）和低临场感条件（7.6米）。二十四名具有不同先前参与程度的参与者（包括狂热粉丝和普通粉丝）以平衡的参与者内设计体验了两种条件。在体验前后，通过测量自我与表演者之间的感知心理重叠度来评估粉丝情感强度。结果表明，与低临场感条件相比，高临场感条件显著提升了除Slater-Usoh-Steed问卷外的所有临场感相关指标，其中条件差异最大的维度为“可能动作”、“社会临场感”和“可观察性”。此外，对粉丝情感强度变化的混合方差分析显示，临场感条件的主效应显著，表明高临场感视频比低临场感视频更能显著提升粉丝情感强度。这些发现表明，沉浸式视频中的拍摄距离不仅是决定视角或构图的因素，更是一种能够增强临场感并深化粉丝情感强度的设计变量。