In previous posts (Part 1, Part 2, Part 3) I discussed briefly what goes into making a 360° video.
The considerations of camera choice, and why this differs to camera considerations for traditional film, the issues presented by audio and some of the tools needed to get around this and produce an immersive experience. And also the idea behind 360° stagecraft, some of the challenges it brings, and some of the ways to get around those.
All of this, and more, because I far fr
A good filmmaker never forgets about audio. Good audio can make or break a film, no matter how good it might look, how well your actors perform, if it sounds terrible people will notice, and they will care. In this project I need more than just a good audio mix, with good levels and positioning. I need audio can can move with the viewer. As they turn their head, phone, screen, what ever viewing method they choose, the audio placement needs to move with them.
When considering what camera to use for a 360° shoot it is not as straight forward as a normal shoot. Considerations regarding quality differ from what you would think about when looking for a traditional camera. For example, you look at a camera that shoots in 1080p high definition, you know it is of reasonable quality. However, due to the post production processes involved in making a 360° video 1080p results in very degraded, poor quality footage in a 360° film.
The forms in which we present visual media are changing all the time. From the development of 3D, to 360 degree cameras becoming more commercially available, and the evolving world of virtual reality.
This opens up a whole range of new options for writers to create worlds, characters and narratives that don't fall into a traditional film or television frame. To be able to do this however a writer first needs to understand what is different about the medium in order to prope