Anaglyph images – A Stereographer’s swiss knife:
This will be a slightly more technical article than what’s usually found on the RealVision site, and will seek to equally learn and answer questions as we move from traditional “Framed” Stereoscopic movies to what can be considered the minimum to qualify as video based “VR”: recording the ‘depth channel’
But first, a disclaimer, acknowledgement and notice: Footage, screengrabs and imagery is from the InstaPRO 360 site, freely available for download :here: The footage used, was noted by the manufacturers as being from a pre-release camera, but now [...]
(Note: Videos are mildly NSFW. Those without VR headsets can choose the anaglyph option and use red-cyan glasses)
“The proof is in the pudding,” to quote a more palatable one, than the overused; “Content is King”.
After an earlier article I’d written: “Insta-ROI and Cinematic VR,” I got a few emails from producers asking to explain more. One of them has accepted there’s no free lunch, and so I’ve scored a consultation gig.
However, it’s nice to have free pudding, so have a look at the video above – A test scene from the planned “Dirrogate:DeepVR” film and then, see a re-framed [...]
What’s the difference between 360 video and video based VR? Have a look at the video above – and if possible, in a VR headset.
If you’re viewing it on a PC monitor or Ipad or phone screen, the points being made won’t apply… Why?
When viewing this video on a cell/laptop/ipad screen, our senses adapt – from years of watching flat video. We start taking ‘depth cues’ from motion, parallax and our known knowledge of the real world to quickly come to a conclusion about such things as:We’re not really on Aladdin’s floating carpet, but on a boat. At about 0:37, The boat will pass under the [...]
(Image credit: lenslord.com)
Directing Audience attention in a Narrative 360 VR movie:
The biggest problem a Director or Virtual Reality Cinematographer might face in creating a narrative piece in Virtual Reality will be – how does one direct the audience’s attention to the “frame”.