IMMERSIVE MEDIA TECH
the immersive experience to life at the envisioned level.” The TARGO team had worked with Blackmagic cameras on immersive documentaries before, and knowing the Blackmagic OS gave them confidence when building a custom 3D rig. “There’s uncertainty when doing something new, but having reliable, familiar cameras allowed us to focus on innovating elsewhere,” notes Agulhon. UNIFYING POST-PRODUCTION The documentary post-production pipeline had to mirror the flexibility TARGO needed on-set, according to Joanas. “This was the first project on which we could bring the entire workflow together in DaVinci Resolve Studio: that’s editing, conform, grading and delivery. It allowed us to unify the entire video pipeline within a single tool, reducing the number of variables and centralising the process around a familiar skill set.” Since this film includes interactive content and CGI that ultimately ends up in the real-time game engine Unity, having one place to manage everything video-related became crucial. One of the most valuable aspects of working with DaVinci Resolve Studio was its native support for stereoscopic 3D workflows. The ability to view anaglyph 3D directly within the software made stereo adjustments far more intuitive. “Historically, a large portion of our stereo alignment pipeline was scattered across various tools. On D-Day , we
completed most of it in Resolve, which drastically reduced round trips, improving collaboration and helping us maintain visual consistency,” says Joanas. A crucial step forward was having the ability to edit stereoscopic footage using a traditional 2D workflow. “We were essentially operating in a 2D environment, using stacked left and right images that synced with just a few clicks,” shares Joanas. “We could edit stereo video using a mono display while still exporting in side-by-side formats for delivery.” Another significant benefit was the flexibility DaVinci Resolve Studio affords spatial video productions to collaborate with filmmakers who might not be familiar with immersive workflows, but are well versed in traditional 2D pipelines, according to Agulhon. “Because editing, colour and finishing can all be done within Resolve, it brought consistency across departments. Editors and colourists could work in the same ecosystem, so even with the unique, stereospecific steps, the overall workflow felt familiar, helping us to maintain both speed and quality throughout post.” A NEW GRAMMAR OF IMMERSIVE STORYTELLING One thing that makes D-Day: The Camera Soldier special is how it blends multiple media types to serve the story. “It starts with 2D archival footage from World War II, then transitions into 3D, real-time interactive scenes, allowing viewers to step directly into the virtual
environment. Using such a spectrum of media – at this level of quality and within a single narrative – had never been done before,” claims Rochereuil. A leitmotif throughout is the recurring return to the 16:9 frame, which acts as a visual and emotional anchor. Each time it reappears, it serves a different narrative function, guiding the audience through a progressive deconstruction of the traditional frame and leading them deeper into the immersive experience. This project pushed every format used – spatial, cinematic and interactive – to its full expressive potential; always with the human story at its centre. “Working on this film reinforced a shift happening in immersive media, as the technology has matured to the point where we can finally let the story lead again,” noted Rochereuil. According to Agulhon, “Before, immersive content was often siloed, with 360° video over here, 3D video over there and interactive somewhere else. The project allowed us to bridge these three silos, presenting a very different way of thinking and allowing us to choose the medium that best served the moment. That choice guided every technical decision, including gear selection.” “We’re proudest of how naturally it all came together, both for the story and the viewer. We succeeded in unifying multiple formats while remaining grounded in a profoundly human narrative: the story of Jennifer Taylor, daughter of Richard Taylor. Her journey to uncover her father’s legacy is the emotional thread that ties together this ambitious, innovative media architecture,” concludes Rochereuil. THIS PROJECT pushed every format TO ITS full expressive POTENTIAL”
FIXED TO REALITY The project acts as an immersive path to the past using real images (above)
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DEFINITIONMAGS
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