Visualise was approached by Polyphon to provide VR production services for the 360° trailer for Tempel. The key challenge from the outset of this project was to match the quality of the highly anticipated ZDF-neo series, Tempel but do so in Virtual Reality video capture.
High quality 360 shot in a van interior
The most challenging scene we shot was inside a van belonging to the main character in the series. The space restrictions inside the van required a significant amount of pre-production R&D from a technical stand-point. We worked through an iterative process with Polyphon whereby we would review their creative documents, flag key concern, build camera rigs, test, modify and block the action taking place.
Doing a high quality 360 shot in a van interior is challenging because when you use multiple cameras in a 360 array, stitching in close quarters is difficult. We ended up using a single Sony A7 SII on a Nodal Head (which rotates the camera around its lens) and recorded two back to back plates of video. The tricky thing with the back-to-back plate method was timing the action so that the front plate matched the back plate, especially considering slightly different violent actions on the car by stunt performers between the two plates. In post, Senior VFX Artist Tom Hawksley and David Robinson, composited and motion tracked both plates together very carefully to ensure there are no visible stitch lines and the content is seamless.
Challenges when it comes to ambisonic (3D) sound
Working in VR brings also bring some challenges when it comes to ambisonic (3D) sound, because this type of audio doesn’t yet have any standard format. In broadcast you will find everything standardised, whereas, in VR, there aren’t really any standard formats to work to, so improvisation is usually required. Henrik Opperman, Head of Sound at Visualise, customized his ambisonic audio workflow so that it would be be compatible with multiple delivery formats like YouTube, or VR headsets like GearVR. Working closely with the Polyphon we achieved something very unique on an aural basis.
Having sound recorded and mixed in full ambisonic 3D is a standard that Henrik Oppermann of Visualise has set for himself and the Visualise team. We recorded with the best on-set recording solutions and post-produced in high resolution ambisonics. This set us up to meet the high standards of broadcast regarding speech, music and sound design - all in a spatialised mix delivered to multiple platforms.
Attention to detail across the pre planning, production and post-production process was critical to matching the quality of the Temple broadcast series, and perhaps most importantly, giving future viewer the ‘true’ feeling of what it would be like to literally sit beside and be inside the world of Mark Temple. (by Kathy Boyce, Visualise)