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Intro to VR & 360 Live-Action Photography and Video

Lesson 15 of 17

Post-Production Part 1

 

Intro to VR & 360 Live-Action Photography and Video

Lesson 15 of 17

Post-Production Part 1

 

Lesson Info

Post-Production Part 1

All right. So that was our walk in the woods. Ah, and now we're gonna put it all together. Um, we'll get to meet Fabian Studio. He's from making 3 60 and, ah, he's written the book on making 3 62 100 page downloadable Pdf. That's all the tips, tricks and best practices in this space. Um, even how to take apart your GoPro and put on new lenses and everything in between. Eso, um, so enjoy as we go back to my office and meet with Fabian. Great. So now we have our Google Odyssey camera rig right here by our ingestion station. The camera also comes with this amazing, uh, Lexar nine card reader, which is pretty convenient because one of the time would take forever with 16 cards. So what I'm gonna do is just pop out one of the one of the three ups. Now, it doesn't really matter which order you take the cards out of the camera, and it doesn't matter which order You put them into this reader because, um, this rig is amazingly designed in a way where they stamp each card. So it actually knows wh...

ere in the where in the sphere each card is coming from. So we'll go ahead and take the first card. Um, it takes a little bit of a tiny finger here. Um, we'll plug it into a reader, do that three times. And his little micro SD Kurds just got to be sweet to them. Their little sensitive sometimes. Okay, So through your in there, Well, just popped that guy in. I don't take the next one out and get more. There's three more dental thing in and take the last one. And so we're gonna have to do this whole round robin twice because there's just too many cards. All cards seem to be reading. You can see over here we have a 1,000,000 new cards added exactly nine. In fact, uh, what we're gonna do, though, is open this jump manager down here. Google provides this jump manager. Now, Jump manager is the way for you to ingest and, uh, mn stitch and then receive those files. So, uh, our upload and stitch and then received the file. So let's see, we're gonna go to project new project. We'll call it creativelive. It automatically give it an underscore. It puts it on this hard drive I have here called Congo. One terabyte. Um, we don't wanna put it inside of another folder. We want to just put it right on in Teoh there as if it's his own fault. Okay, so choose that. So right into the external hard drive name. It looks like there's 240 gigs on the extra hard drive. So what's gonna happen is it's going through the computer right into the external hard drive so we don't fill up my computer project. And here are six shots we shot while Tilden. Um, start import is down here at the bottom. It says 100 and 42 gigabytes of disk space is required, and we have 242 gigabytes, so we're all good. Um, we're gonna head start import. And what's happening here is, um, it's only showing us, you know, you can see once you start, the important that which cards you have. So we've got all these cameras, cameras one, and then it looks like I went backwards. So 16 15 14 13 12 11 10 and nine. Ah, so that way we'll see. You know, when we when these finish uploading are moving, ingesting. We will put the rest of the cards in, and they will finish out the 16 cards. So this takes a second. It's not actually that much footage, so it shouldn't take too long. But you can see even with just six shots, this is 142 gigabytes already, so it doesn't take long to add up quickly. One thing that we found very useful is just having kind of, ah, a bunch of smaller drives as well as raid storage. So we use a robo with 12 terabytes because as you make more of these pieces of content, you'll see that if you're saving your footage in addition to just your exports, um, you really will end up with a whole lot of a whole lot of data. So this is the Google. This is the jump manager and that lets you upload to Google's I grow them. If using Google's camera, that is not the only way to ingest footage. Most cameras where you'll end up doing is actually dragging and dropping the files individually, so you'll take one card. You make sure you remember that's camera one put it in the card reader. You'll drag that in to your computer undercard one. Take it back out Chuy card, too. And it's super important that you label everything very accurately. Um, what I would recommend is to go back in once you've literally dragged and dropped all the footage off each card individually and you organizing his cards, Then I would go back in and check each single clip. So we kind of name every clip and, uh and you'd scrub through it. You can just have the space bar on a Mac. Um, watch the video pop up. You'll be ableto identify it quickly. You'll say, You know, outside swing underscore Card one. Outside swing underscore Card to outside swing Underscore card three unwto. How many cards you have for your camera? Um, that will let you easily be able to group those so pretty soon. So first you drag him into cards, you organize it that way, and the way we do it is when we're not using the ghoul set up, we would then reorganize it into shots. So once you have all of your shots identified, you take, you know, swing outside swing underscore. and eight. You'd group that into a folder called Outside Swing. Then you take that. That folders how you would create your stitches. Eso all of the first clip from all your cards would be. You know, that shot. Sometimes what's gonna happen is you might get a misfire. They might be out of sync. So one card eyes on clip three and the rest of the cards Earl on clip to, um, And in that case, that's where the scrubbing really pays off. So you're not just blindly putting things into folders. You just like tap the space bar. Preview that clip, make sure it's the right moment that you want to group together. Andi, all of the all the cards would go into that folder for that quick. That's how we sort of weren't so first organized by clips and then first organized by cards. And then you go back in and reorganize into clips. So now that this is all being ingested, all we have to do is click upload at the end, and all of this is gonna go up into the cloud. It takes about two days for Google's algorithm to put it all into spheres to stitch it all together. Provide a three D mostly color corrected spiritual experience. And we'll get any mail in about two days, and we'll be able to pull down those fears of video on DSO at that point. What? Fabian come in? And he's gonna kind of walk through some of the steps for working with that footage, putting into premiere, manipulating the colors, working with audio and sort of walking through some of the steps that we think about when we edit VR video. We had it 3 60 video. You know, sometimes we want to stay away from harsh jump cuts. Um, you know, sometimes we have opportunities to utilize a split screen. You know, you might have kind of like what's happening on this hemisphere or that hemisphere so we can play with a few different techniques in the edit room. You know, there might even be an opportunity to really make each quadrant its own unique piece, and all of a sudden you're in kind of a kaleidoscope experience, you know? So, um, so in a few days, favor is gonna come and take all this footage down from the cloud and put together in new and interesting ways. And we'll all get to go on a walk in the park Together we've got Fabian Sudi Air, Uh, who is author of Making 3 61 of the best resource is in making a three under 60 very content photos video. It's really thorough and robust read, and it's also available for free. Yeah, Fabian, you want to talk about? Yeah, well, basically, we wrote it last year, and this started a Kickstarter project, and it's just basically showing problems of shootings and problems of stitching in solutions for each of those problems. There's no need you can pick up any page. Basically great. Eso this is Ah, great resource. I would highly recommend downloading the pdf for the making 3 60 book. It's awesome stuff. So thanks for your help to the movement. Um so really, uh, I just wanted to introduce baby, and your baby is gonna be spending some time with us walking through the post production process. So we're gonna in just the footage that we shot a Tilden. We're gonna look at what? That how that kind of breaks out, how we can organize it um, And then we're gonna dive right into stitching to some photo shopping that's gonna be needed in the stitching process. Um, and will be, uh, kind of going from beginning to end all the way to an export. We'll have music. Will had titles, um, and get us all the way to an export and then even upload onto YouTube 3 60 player. Great. All right. So, uh, stay tuned for, ah, for the rest of Fabian's. Ah, walking us through the post production process of making 3 60 Okay, so first step stitching and editing 3 60 has to in just footage and organize it. So that is actually a very important step. 19% of job and 3 60 is to have the right organization. So lucky us if we shoot with the Google job, the Odyssey came out. Google has its own in jester. So here in this folder we have a footage folder which has each shot already organized an inch inside of each shot. You will have the 16 camera individual cameras, as you could see here, um, each came around is like, untangle. That was filmed with varying. Let's look at the these registry, Peg. So you have Kimmel One, which is where the chemo was filming. The center of attention to focus, I guess. Yeah. Here to sunrise. Very doing its clap. And then in the back, you can go Kim on nine, and then you'll see, like the back of back of the rig. All right, So you got here. 16 came roads that are, like, four by three aspect ratio. Ready to be stitch their name. Kim a 1234 up to 16 to just help you, Uh, one detail one tip. Usually when organizing here. We're working with different system and there's cameras. But if you're dealing with ah, hundreds of takes with 16 cameras in each take you're setting yourself up for, like, mistakes If you don't organize yourself. Right. So I would rename each file and add probably the shot number like this before the camera. So shot one under school came right one. So you mad as many suffixes you want in the source file before you start stitching and I can help you actually, just like trees. Where the problem where after when you start stitching and you have hundreds of takes to deal with. That's basically how we in just off footage and ready to stitch. All right, so let's talk about stitching. What is stitching? So stitching is basically the way we're going to take all of those videos together to create a 3 60 video. So we're gonna have to take each pair of images or individual cameras, find some overlap and stitch them all together to create this 3 60 video so you can stitch videos and against its images. Stitching images has been developed for years now. There's a lot off Panesar Panorama photographers out there already stitching 3 60 So we're going to be using an image stitching software that will stitch the videos, but it's based on an image, so we're gonna have to use to Softwares from the same company. So those Softwares are coming from collar. One of them is called out, a panel video pro, which stitches the video part, and the template, based on an image based on the frame, will be stitched by Arabella Giga, both software or kind of like sisters. They talk to each other, so I'll just show you an example here first. Um, all cameras. 16 4 depending on which way you're using. Here is the Odyssey. We have 16 cameras. You will drop all your cameras into outer panel video pro. Here. You see, we have every little angle shot from the Odyssey, and you could see Berry sitting of the rig. This, uh and you see the little timeline under each click. So these are clips. These are video 16 videos. That's a very intensive operation we're gonna give to the computer to handle right now. So that's what we're gonna use an image stitching software to kind of like fix our seems and fix us are still because you can't really do that on top of a video whenever you're stitching videos. Some rigs today, Arjun locked. Which means they all start, um, at the same time on a frame level, not just starting at the same time on the timeline, but on the frame, Nevil. Meaning there will be perfectly sync when you bring them into, let's say, a knitting software and you're looking at the audio waves. Uh, but there are not many raise gin knocked right now, So the most important step when stitching is to sync all of the cameras together, and that's why Barry was clapping on set. But let's say someone forgets to clap and you're shooting outdoor and there is no nose or peaks of audio. How can you sink where you can also rotate the rig and then you would use in this software you would use use motion to synchronize eso here. We're lucky we won't need to do that step because the Odyssey or already has the Gen lock and it's already all sink second steps to pick a better frame. For example, here Barry is on 12345 of the cameras because he was setting up the rig. So you don't want to stitch that frame of the video. You want to take your cursor and put it in the middle change of change, the frame to be more without various body here. Otherwise, it may not be stitch hable, so you don't want to stitch the DPS fix. You just wanna wait until he's gone. And now see, everything is updated so we can now stitch those video those frames for me to show you how those two software work together. This after is a video side and the other software out of Pano Giga. This one is the image software which is gonna help a stitch. So pay attention just to does 16 cameras. These are MP four. If I can just, um, show you the extension here, that MP for these are videos and I'm going to stitch it without a pen. A video. You have a few options. You can use a template, which is what we're gonna be creating without a banner giga. Or you can use a lance model if you know the focal length of your lens. Um, and you have some presets that comes with the software. So we're just gonna get a preset because we were shooting with Go pro and we have GoPro here three or four. So let's just click stitch and wait. When you are stitching when you click Stitch, some basically out of Bono is going to extract a frame from each individual camera and in the folder here, you're going to start seeing some J pigs being added right after each camera. And that is basically what the other software Giga is going to stitch. It's not going to stitch him before it's gonna stitch of JP. Here it is. Now, you start seeing the Jeep. Big are showing up. And of course, the chipping were extracted Exactly from where we positioned all cursor. Okay, here it is. So now that, um, old 16 cameras have their own image, you're gonna start seeing a preview here, make it a bit bigger for you. Yeah. So here's get thes 16. Boom. Perfect. And here we go. So here's a preview of the video being stitched based on the stitching off. Those images were missing the top here, the Nadiya in the bottom, the needy and dizziness is in it. We're missing both because, uh, that's just how the Rigases obviously does. Not necessarily should get up in bottom, but we can fix that. We're gonna fix it together with put a shop. If we wanted to fix this ditch like that's more advanced. But I want to show you how the software for video communicate with Giga. You would edit this. So if you want to edit this to make it perfect, you kick at it and see what's happening here. It's loading at the bottom, and it's just sending this work to the other software many other suffer ship. So we sent our work to Giga. Now we can edit this. So here we're editing images. As you can see, there is no timeline in this software in a V. P. You have a timeline. Zero seconds up to three minutes. So here we're not. We're stitching just one image. If we want to stitch later on, we'll have to, like, move the cursor in this software and then re ated here. So I brought him here. I have all of my cameras and they have some of the data here. I'm just gonna do one quick fix just to show you how this program works. So the F o. B. Here is different for each cameras, which and it shouldn't be because each camera have the exact same F movie. All the cameras were GoPro's, so we're just gonna optimize this template so a bit complicated. You see, a lot of like links here and a lot of points. So basically, this is how stitching work. It's creating points where you see overlapping areas and it's stitching all those cameras together. So you have a lot of different links in a lot of different points, and that's because you have 16 came, right? So that's that's why now, here on the right on the left, I have some optimization settings. I won't explain them exactly. But, uh, the best settings are to optimize the focal length for the whole panorama the same way. So if I click, optimize and I dragged my slider to optimize all the cameras the same way for the entire panorama. Now look at what's happening here. Those numbers are like a little bit different in my f. O B column. If I start optimizing after I change your settings to this now, I'm gonna lock my free for all cameras, and they're all going to be the same. It's wait for it. Here it is. It's an idea for Visa simple cameras, and this should have improved slightly are stitch. If we want to go a bit further, we have mask and mass can help you move things around, so just giving you a little example here, this board is a little cut. There's a seem, so all of those lines that you see are the same lines, the same lines, meaning like the the the line where you were the limit between the two cameras. So let's say we haven't have overlap in order to push this, seem to the left and fix the little cut on the board. So we're just gonna take a green marker, which helps us keep an object, and now we're gonna place it the right way. I didn't do that. Okay? So as I'm moving those markers, you see, the seems like updating themselves. But now at least I have fixed my, uh, sim issue that we saw on the board again saved here. And as soon as I saved you can see in the other software a little refresh icon and the issue which just got fixed and updated. So this is how out of a video communicate with Giga and how giggle communicate back with video pro. You're basically creating a template which is gonna help you stitch the entire video frame by frame. That's pretty much it for stitching we covered kind of like the basics of the quick stitching quick stitching meeting. Bring the videos in, sing them and kind of stitch them and you can render. But now we're going to cover a bit more like fine stitching on by five fine stitching. I mean, when you're shooting with the Reagan, you have a tripod. You need to remove that tripod. All you need to fix the zenith because you have a hole in the sky or hole somewhere. And how do we fix those problems? Well, sometimes you can't fix everything with this stitching software, and you need to bring this into Photoshopped or after effects to help you out. So here we have our video stitched. We can render the video. Wasn't MP four usually people to study 8 40 by 1920 you can just keep the FPs as original as video and then you can press render were just apply here because we already rendered the video previously. Ah, and we'll save project. So shot one. Perfect. Great. Now we can close, um, out of video pro. I highly suggest you close out of Montevideo pro as it takes about 90% of the GPU every time it's open. Uh, even if it's not working and we're going to fix bottom and top, which are not recorded with the Odyssey camera, Uh, and the wind wouldn't fix. That is the same way you can remove a tripod or fix anything so you want to fix oh composite on top of the highest quality, uh, frame. So I'll show you how to do it. You know, the better G guy. You created your template, which helped you stitch the video. You have this little setting well, like on, uh, with the actual template you want to extract. If you think on the wheel I go on, it's basically your way to extract that image. And, as you could see, the width of the images 8074 pixels, which is an eight K eight K resolution. Now let's get a better format and its changes to a tiff. 16 bit and no compression. That's the highest you could get really, before extracting an Excel file. But we won't get into the E except for now. So we're just, like change the name of the file and add like, ah, version number, maybe and just press render. Now that tiff, we're gonna bring it into food or shop. So you guys are confident with photo shop. There's one quick plugging that's free you can download from the Internet. It's called Ah, the dome the don't master actions back for photo shop here. You could see I highly advise you guys to download it and set it up is a little zip file. Who can Donald and set it up with your and his instruction on how to set up in Russia. Uh, these are like free tools to help you convert into different mapping. So photo shop open for a shop and bring in the panorama. So let's just look by date came on, get good. So this foul is what we've just extracted and you see the sizes. You just 254 megabytes just for one image. So it's gonna be a very good quality, Uh, and let's bring it here and for the shop. Great. So now let's open our actions. After you have set up your actions, just follow tutorial nine on this block. You're gonna have all of these no actions here that are converting between different mapping. The one we care about right now is gonna be the to 1. A queer rectangular to anger fish and the reverse the anger of fish. I 22 to 1 inquiry Tigger, and then make sure you have this work? How can we add it? How can we did bottom in tough? Well, we're gonna do step by step first. Let's do the top. So the top here, this part, you're gonna use your action and I'm gonna just click on 2 to 1 to anger. Here's what's happening. It's gonna convert it and make it look like almost like a fish. I like a circle here. So now we get in our sky We'll just do man, and I'll just get to work one of the way. I like Teoh fix things for shoppers to use the understand the clone stamp to That's not gonna be super beautiful right now because we're missing a lot of information, but we'll do our best. So I'm basically recreating the big soul. Not going to be, like super beautiful. And since it's not, go away quick, Great. I'm just gonna do a little brewery effects so we don't even see it. And a review copy filter for caution. And here we go. How does that it's OK. One thing you need to do when using those actions is to always fat an image. So don't forget to flatten your image, and then you're gonna use the reverse action, which is angered or fish are 22 to 1, a quick tinker. All right, control zero to fit the screen. And I'm satisfied for the top part. Now we're gonna rotate our image to handle the bottom part. So good image and an image rotation 1 80 degree. Make sure the lock still owning its flatten. And then you can apply the first action to the one. A quick to anger official. Great. All right, now we're a bit more information that is missing, so it's gonna be rushed job. But my advice is, you just shoot a plate. You can even use an IPhone just to shoot the flow after you've shot your your take so that you can use this on. Just recreate with more ease in photo shop The floor. Here I have nothing no information whatsoever. So let's use the clone stamp and this Go little Craig Craig, If you can make it look OK with the information, then you've done a good job. I think it's OK for now, so we'll just go with them, and, um, we're gonna use a river section again one more time. Angered a fisheye 22 to 1, a queen, great thinker. And since we rotated 1 80 before, we're gonna rooted it back. 1 80 degree right image rotation, 1 80 degree book. So here, with photo shop, we kind of like we give a fixed our top and bottom. If you have stitch stitch lines, you can also like, let's say, here I have a stitch line with this board. I can use my less. So, uh, yeah, I could just fix it, you know? Might play clearly a copy, probably bring it down. If it doesn't work, then you can just use your free transform tool and use your master. Just reward things. So here I'm not just patching the needier here. I'm also actually stitching but painting. So it may seem weird, but yeah, um, stitching is not just stitching videos. It's also like knowing how to composite or recreate, pick missing pixels and trying to solve problems every second. So here we go for happy with this, we're just gonna flat in the image on. We're gonna save it. A man s This is just going to save it or the tiff to keep the 16 bit college debt, and we're good. All right, so now that we have fixed about him in the top were basically, uh we're done with the fine stitching using photo shop and our panel, and we're ready to go into after effects and calm.

Class Description

Imagine a world where you can create a product for your client where they are immersed in a memory or place; a bride & groom that are able to relive the feeling of their first kiss, a real estate agent that can place clients in their virtual home, a journalist that can transport a viewer in a small village in a foreign country. That world is here, and it’s growing quickly. 


360 Live-Action is a form of photography and videography that allows the viewer to see an entire world. With social channels like Facebook and YouTube adopting ways to publish this medium, the creative world has exploded with new opportunities to share new immersive stories. 

Barry Pousman has been playing with virtual reality for years. His stories and media have been used by such organizations as the U.N. and Google to evoke empathy in viewers with the hope of creating a positive behavioral change. In this course, Barry will introduce you to the world of possibilities created by 360 and VR.
You’ll learn:

  • What exactly VR and 360 Live-Action are and the history behind each of them
  • How you can get started in photography and videography to create stories in 360 Live-Action
  • How to develop, plan, shoot, and stitch together a story in 360 Live-Action
  • How you can enter the market place and participate in the growing world of VR and 360 

Reviews

user-5f6365
 

Great content! Great overview on storytelling and an intro to 360.