41 ECOMMERCE VR
OUR EDITOR DEVELOPED A GHOSTLY TIME-LAPSE EFFECT THAT ‘HADN’T BEEN USED IN 360 VIDEO BEFORE, SPECIFICALLY DESIGNED FOR THE RUNWAY
Choosing the correct cameras and codecs was also important – Digital Domain used a mix of Z Cam S1Pro – a low-light sensitive VR camera which captures footage using four fisheye lenses to create a 6K spherical resolution image at 30 frames-per second – and GoPro Fusion, the action camera maker’s first 360 model. “These shows happen all over the city on a very tight schedule, so we had to be able to run into a venue, set up, shoot for half an hour, then move onto the next venue,” explains Carlin. “ProRes is what works best for our post-production workflow.” SET FOR STREAMING “For a project like this, turning around videos needs to happen while they’re socially relevant,” says Carlin. “With this in mind, our approach was to release some ‘snackable’ videos on site and to create a highlight reel within two weeks.” Here is where the pipeline and, in particular, data wrangling, became crucial. “We rely on our post-production team to turn around dailies similar to any other traditional 2D shoot, but with the added step of render-intensive stitching this adds more time,” explains Carlin. “The whole machine has to operate smoothly, as one snag in the process can halt a 360 production and add days to the delivery. “Creatively, our editor Lee Bledsoe developed a ghostly and wispy time-lapse effect that hadn’t been used in 360 video before and was specifically designed for the runway. This allowed us to drive the pace of the piece while giving viewers the ability to see multiple models and looks within a 10-second clip. And it looks really cool!” While this wasn’t a live VR production, it was approached in a very similar way, says Carlin. “That means pre-production becomes paramount to the turnaround that we were looking to achieve,” he explains. “It means
having graphic assets, music, and even temporary VFX prepared ahead of time and ready to drop into our timelines on set. Site visits and camera plans are approved ahead of time so that we can run into a venue and shoot without issue. Taking the time to understand the unique beauty of each designer’s runway show, and how we can best do our job to convey that to the viewer at home in an engaging yet comfortable way, is especially imperative in VR.” CENTRE OF INNOVATION However grand in ambition, the Spring project seems to be just a taster for the BFC and Digital Domain’s immersive content strategy. All of the BFC’s events and partners, including designers and brands, can now have access to Digital Domain’s expertise. “The British Fashion Council has a strong legacy of being at the centre of innovation, and we are committed to continue pushing the quality of our content,” says Caroline Rush, chief executive, British Fashion Council. “Working with Digital Domain will allow us to do so and will give our designers an exciting platform to reach their fans around the world in a new engaging and interactive way.” The focus on interactive is set to expand. Digital Domain’s capabilities include hot spot technology, allowing viewers to interact with the shows, designers, the products, and to shop in VR and other related technologies. “The next form factor in ecommerce will evolve into interactive and immersive commerce experiences,” says Alireza Saifi. “Consumers want to get as close as possible to an ‘object’ and the ‘environment’, with the added conveniences of experiencing prior to purchase. For example, how the piece of clothing moves and looks on the body, how it’s perceived by others, and the feeling of being present – all of which will impact the decision-making process. We believe immersive and interactive commerce will lead to a world of ‘see it live, experience it live, buy it live’.”
TIGHT SCHEDULE On a quick turnaround, pre-production becomes as important as post-production, with graphics, music and visual effects all ready to slot in as needed
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