360 VR

I was looking for an idea or project to use as a vehicle to explore 360-production and post-production, and concluded that a music video would be a good choice it’s usually a three to four minute project that doesn’t tie you to the laws of logic, time or space. However, even with this interpretive freedom you still face challenges around flow of movement and where you want people’s attention to go.

I was looking for an idea or project to use as a vehicle to explore 360-production and post-production, and concluded that a music video would be a good choice: it’s usually a three to four minute project that doesn’t tie you to the laws of logic, time or space. However, even with this interpretive freedom you still face challenges around flow of movement and where you want people’s attention to go.

The band
View in 360˚

The Sweet Resistance Band would become our performance partners in our first 360˚ production and it was a roller coaster of fun, challenge and exploration. The Sweet Resistance are a great live band, so the decision was to develop a performance only video without any additional visual narrative.

Describing the 360 process to people is a challenge in itself as it’s hard to wrap you’re your head around some of the concepts and requirements, so it was important for use to work with a group that was open minded and prepared to take a few steps into the unknown.

One of the biggest practical challenges is that the camera sees everything… there’s literally no place to hide – so once you’ve set everything in motion you have to clear out – quickly. There’s no ‘off camera’ area – every light and piece of equipment is in frame, so you either disguise it or make it a part of the set.

Dull days are the best! If you’re recording exterior and it’s a sunny day – because you have a 360 horizon with 6 cameras – at least one of the cameras is facing directly into the light, so you have to be really careful about your settings so you have enough latitude in post.

There’s no shortage of other challenges on the set, including parallax, cross over points and distortion – but most of these pale in comparison to the post-production challenges.

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© 2017 john r bowey

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