IMMERSIVE TECH
OUT OF THIS WORLD Surviving Earth (left, below) brought dramatic principles to natural history; RED V-RAPTOR cameras were used by Chris Parks on a complex optical rig (above)
just bought a lighting desk, the Obsidian Onyx, and I can pixel-map the entire studio in about ten seconds. It’s all about being flexible enough with the animals, the birds, particularly owls, things like that. And as we were going along, Chris would constantly be tweaking the rig.” Monitoring, Hollingworth goes on, was “quite exciting. We were able to monitor live in a headset and we had a live stereo feed going to a normal 3D TV, which gave us an elliptical, punched-in view. From a DOP point of view that was
incredibly good because it meant you didn’t have to put the headset on to look at things, you could glance over. Since then, on other projects, we’ve massively refined the workflow. We’ve now got live monitoring in immersive streaming to anywhere in the world.” Hollingworth sums up the production, directed by Parks with Tom Hugh-Jones from Passion Pictures and Plimsoll’s Alex Rankin, as “effectively an R&D project – I don’t know what the status of the film is at the moment, whether it’s been
released on the headset or not. But there’s a lot of prep that went into this. The shoot where we did it for real, our B camera was the URSA Cine Immersive [for wides] and we brought in a director to write a story so we weren’t just shooting odd frames. We tried to shoot a bit of narrative – and it went really well. “They came to us going ‘well, we’ve tried to do this but we can’t’,” Hollingworth reflects. “You can’t film macro in 180º 3D live action. That was the gauntlet they threw down.”
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DEFINITIONMAGS
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