Creative Director: Jon Riera
Technical Director: Connor Illsley
Production Company: Touchpoint Films
At the start of every project we ask ourselves 2 simple questions, the first, how can we make this concept deserve to be in 360, the second, how can we push the envelope technically and creatively.
The Nordstrom You First Fashion in 360 video was a simple concept, take one models, have multiple versions of her surround the camera in different outfits for different occasions.
From our video for Jazz Cartier 100 Roses we know the basics of the multi version performance piece. Make sure the versions don’t intersect, shoot clean plates, keep consistency.
For 100 Roses we filmed on a 10 GoPro 360 Heros rig, which shoots to individual 2.7k 60mbps MP4’s. For Nordstrom we wanted to have versions of the model physically wipe other versions on and off, get close to the camera, and have a wider range of movement across the field of view. This would require a considerable amount of compositing, rotoscoping and stitching, things that would be increasingly difficult with compressed go pro footage.
We used a single Sony A7RII recording into a 4K external recorder at Prores4444. We shot on the Canon 8-15mm fisheye to be able to have the field of view to capture top to bottom completely and almost 180 degrees side to side.
From a test shoot at the top of the day we took our 4 camera head positions into Kolor’s Autopano Video Pro and built a template that we could feed in the fisheye footage and output the individual camera positions properly warped for the equirectangular aspect. Once we had each camera position warped and reoutputted we composted with Mp$ proxys then online with Uncompressed Cineform’s from AVP. Compositing was done in Adobe After Effects with help from the Mettle Skybox Suite of plugins.
For final colour correction we used a standard SLOG 2 LUT and After Effects stock plugins. Due to the amount of blending between camera positions and to reduce rendering between applications we kept the full build and colour correct in AE to maximize efficency. The Prores Camera masters meant we had lots of colour information to push in the grading process.
What we’ve developed is a system that can be used to capture high quality uncompressed spherical video assets perfect for compositing and post manipulation with the ability to scale the capture solution from one camera to a full 360 coverage array. With the Autopano 2.5 update we can have a fully camera to delivery Prores4444 lossless workflow that is light on rendering resources and big on quality.