39 ECOMMERCE VR
“London Fashion Week is known for its broad range of designers and fashions, which we wanted to share with people from all over the world,” adds Ben Carlin, VR director, Live and Cinematic, at Digital Domain. “Visually, there is a striking contrast between venues and we curated our experience to feature those dierences. In post-production, we took this material and used some new techniques to help drive the pace of the final piece without having to make faster cuts. It was very important to us that this wasn’t just a typical fashion show piece, and with the combination of camera access, stunning environments and some cutting-edge post techniques, I think that we accomplished what we set out to do.” UP ON THE CATWALK Given the amount of lighting, sets, and the sheer volume of moving people, the LFW events would be a diicult place to film anything without getting in the way, never mind a VR set-up that requires
very careful camera positioning and camera control. “Access is everything,” says Carlin. “We wanted our viewers to get that VIP experience, and this is where our partnership with the British Fashion Council really helped. They were able to get us into those positions and helped us to schedule site visits ahead of time, which was incredibly important. “We took notes on camera settings at each site during some rehearsals and were able to fly into these venues on the day to set up very quickly with confidence,” he continues. “Of course, something always changes when it comes time to hit record, so while we’re shooting we monitor all of our cameras via Wi-Fi on tablets. In this case, there were moments where one operator could be flipping between four cameras, and in these environments you just don’t have the ability to physically adjust a camera. Once the show starts, that remote connection becomes extremely important.”
WE AIM TO EXPAND THE WORLD OF THE TRADITIONAL RUNWAY MODEL FOR AT HOME VIEWERS AND SHOPPERS
LOOKING AHEAD Careful planning was key to creativity. Pre-show study of the venues, stage set-ups and audience positions meant Digital Domain could concentrate on telling the story when shooting
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