How to Plan Your 360 Shoot
All right. Welcome back. Now we're gonna plan for our shoot. This is really what it all comes down to. Um, do you have a good idea for a story? Um, do you have a way to think about telling your story that is unique to 3 60? What about this project? What about your shoot is going to be valuable, so valuable that people have to suffer putting on this big, heavy, hot headset. Right. So you have toe kind of overcome that, uh, overcome that hurdle, friend. There's a barrier to entry in VR for your audience. And Andi, even if that barrier to entry is just moving your phone around in space are using your finger to move around your video on a Facebook timeline. People don't normally do that. And so what is it about your story? What is it about your shoot that offer so much value that people get past that hurdle, right? So one thing that's nice, NVR is and it's a double edged sword. One thing that's nice and also very something that's you have to watch out for is his camera placement. And Kim r...
eplacement, um really has a lot of meaning for the audience. Now, as he spoke about before the language of cinema, the language of having one camera shot and people in a line and then that language evolving and having to camera shots or three camera shots. Close ups cutaways right. So that evolution and where to put those cameras took decades. We've learned how to put cameras in in a room s so that audiences can make sense of what's what they see, right. We learn rules like the 1 degree line. You can't cross that line when you do an interview. Where else people are gonna. Your audience gets confused about who's sitting where in the interview, right? And so that's a rule that we discovered over time. And it took a long time to get to those sort of rules. The whole system of rules that the language of cinema well, with the are we have a new set of rules. We have an opportunity to rewrite the language of er cinema, and what I'm gonna do is I'm gonna show, um, a little practical example of camera placement. So we're gonna use our little Samsung gear 3 60 cute white ball here um we're gonna put it and take off its little footprint, and we're gonna put it on a light stand. Now, we use light stands because they have a smaller footprint than a regular try Pottery with tripod would legs would come off the top. Um, and it would leave a bigger space on the ground, and it was just mean. Whether you're painting at a painting out in post or not, it would be more of a problem in your 3 60 right. It covers some of your real estate. Um, okay, so now this camera right now is positioned at about the table height. It's like rate of my belly button. That's a terrible place to put your audience right now. When you think about why is your audience where they are in this scene, all of a sudden, we have an opportunity to put our audiences into the movie. The movie is all around them. Instead of looking at the movie you're now in the movie and where do we want our audience to be? So in the scenario that we want our audience to be, let's say at a table, uh, let's see. So that's about my height. And I usually keep it about at my nose, like, just below my eye line, because, um, I'm slightly taller than maybe the average person that would be watching this, right. Um and so eso I try to keep it right at the tip of my nose as the center point of the lens. Um, and I think that tends to work out pretty well as a sort of adult standing in a room position. Now, I'm gonna call up some people. Let's see if we can get a little monitor going.