IMMERSIVE TECH
IMMERSIVE PRODUCTION IS MORE visceral , immediate & engaging ” emulates the lens space of the camera for Apple Vision Pro.” He points out that Resolve’s new toolset also widens creative possibilities: “New tools have expanded Resolve’s support for VFX, graphics and 3D image composition in the immersive space, as well as for mixing and mastering to Apple Spatial Audio. Finally, this needs to be finished and then delivered to Apple Vision Pro, so new tools for rendering and delivering immersive packages for audiences to experience with Apple Vision Pro are absolutely critical. They have been custom-designed and built to process high quantities of media, so the quality of the dual 8K media captured is ready for audiences.” Heffernan’s advice to filmmakers stepping into this world is to be brave and creative. “Immersive production is truly a new approach for audiences to experience storytelling unlike before. For over a hundred years we’ve been invited to watch filmmakers craft stories and introduce characters through the frame of a 2D camera system. Even where 3D camera technology expanded this, adding the illusion of z-axis depth, the scene remained locked to the camera frame and its focus. Immersive production enables the filmmaker to place their viewer in the scene and invite them to be closer to the action than any other filmmaking technology,” he concludes. “It’s more visceral, immediate and emotionally engaging in the hands of great storytellers.”
“Even a slow, steady tracking shot could be enough to create unease and an unnatural sensation of movement when, in reality, you are not,” he explains. “On the other hand, fast-paced movement and whip pans are no-goes, as they can induce motion sickness in the viewer who is fully immersed in the field of view.” You also need to consider the height and relative position of the camera, ensuring it feels natural for the audience, he says. “Using a low-angle or a worm’s- eye view for an immersive production creates an entirely different sensation for the viewer when immersed in a scene.”
Mikkelborg suggests that immersive production is still in its infancy, but she’s convinced it represents the future of screen storytelling. “I’ve been working in immersive for around ten years now and I’m completely biased,” she laughs, “but I have believed since I watched my first 360° film – and I still believe – that this medium is 100% the future. Because of course it’s going in this direction. Why wouldn’t you want to be more immersed in storytelling?” She believes that the potential is still largely untapped. “The more talent that comes to the space the better,” she says. “People new to the medium will do something that we might not expect. I’m excited about more high-quality narratives coming to the space as well because more great content will draw people in. Think about immersive Harry Potter or Game of Thrones where you don’t just watch the story, you feel like you live it.” From a technical standpoint, Heffernan comments that the road is only getting smoother for filmmakers looking to make the leap. “From our work supporting immersive projects, a key learning has been in post- production and the development of a new immersive toolset for DaVinci Resolve,” he explains. “This now offers intuitive editing tools to help manage dual-sensor 8K media as quickly and efficiently as 2D media. There are also new viewer options to check out immersive content in native state, LatLong or a viewport option that
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