TECH IMMERSIVE MEDIA
CASE STUDY
DOCUMENTARY STORYTELLING THROUGH SPATIAL VIDEO TARGO taps into spatial video, stereoscopic 3D and interactive media to serve the story in D-Day: The Camera Soldier – a groundbreaking new immersive documentary N ew documentary D-Day : The Camera Soldier , made for Apple Vision Pro, follows Jennifer Taylor as she pieces together the
SLICES OF HISTORY A compact camera rig allowed close-ups in tight spaces (above)
Victor Agulhon, also co-founder of TARGO and producer on the documentary. BUILDING A SPATIAL RIG Traditional high-resolution 3D rigs are large and cumbersome but, until now, they were the only way to capture high- quality spatial video. Needing an entirely different rig for this project, the studio developed a miniaturised rig around two Blackmagic Micro Studio Camera 4K G2 cameras for the spatial footage segments. “These cameras struck the right balance of cinematic image quality with a compact, lightweight form factor. They were also small enough to mount on a light beamsplitter, which allowed us to move the system easily, install it on dollies and sliders, and stay mobile indoors, outdoors or even on beaches.” Another requirement was sensor-level synchronisation: “For 3D production, even a slight delay between two cameras creates viewer discomfort,” immersive DOP Maël Joanas notes. “The Micro Studio 4Ks gave us reliable genlock in a small form factor, without having to plug into AC power – crucial for fieldwork.” Ultimately, it came down to a simple equation for the documentary producers: image quality, form factor and sensor
hidden story of her father – a combat cameraman who captured some of the most iconic footage from Omaha Beach. For years, she knew almost nothing about his role in the war, until a message out of the blue set her on a personal journey to understand the man behind the lens. Produced by TARGO, the film combines archival footage, spatial video and 3D interactivity, bringing history and memories to life in a strikingly immersive way. “We’re now able to ask ourselves: ‘which medium is best suited to tell this specific part of the story?’. Previously, we worked in silos (360° video, stereoscopic video, interactive scenes), each format operating independently,” muses TARGO co-founder and director Chloé Rochereuil. “This project bridges those formats and allows us to choose the one that best serves the narrative; a huge leap forward for immersive creators.” “One of the first challenges we faced was finding the right equipment: something lightweight, high-resolution and robust enough to follow life as it happens, without disrupting it,” adds
synchronisation. “The Micro Studio 4Ks were the only cameras that brought all three together in the way we needed,” says Agulhon. The compactness of the rig opened up creative possibilities. “We could film in tight, constrained environments, between furniture, in basements and very close to our subjects. One standout example is a beautiful shot that mimics the effect of a dolly zoom, with the cameras mounted on sliders. We could only make these creative choices because the rig was so lightweight and compact, so we could fit it in tiny spaces,” enthuses Rochereuil. On Apple Vision Pro, audiences expect exceptional visuals, and these cameras allowed the TARGO team to meet the delivery specs – 4K resolution at 60fps – matching the visual quality required to sustain the immersive experience. “We wanted to fully saturate the Vision Pro’s capabilities and approach real- world fidelity,” says Agulhon. “That priority shaped the decision to use Blackmagic equipment, as it provides the cinematic sharpness and depth needed to bring
56
DEFINITIONMAGAZINE.COM
Powered by FlippingBook