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Intro to VR & 360 Live-Action Photography and Video

Lesson 16 of 17

Post Production Part 2

 

Intro to VR & 360 Live-Action Photography and Video

Lesson 16 of 17

Post Production Part 2

 

Lesson Info

Post Production Part 2

we're almost ready to edit one. That step is the after effect camping. So we just don't go in after effects, and we're gonna dry again. All video that we rendered previously from out of panel video Pro, Uh, drag it into your project and we're gonna drag art if that we fixed in food or shop using the actions, the dough master actions. Good first step. Usually you can take your before drag it to create a new composition with the exact same frame rate. Exact same resolution, uh, fit this to scream. And as you could see, my video has missing information at the top and at the bottom. So let's come. We're going to bring in our tiff on top of our video layer, our tiff where was extracted as an eight king tip. So you're gonna have to use control f to fit to screen. So we'll drag our tiff on top of a video layer. And as you can see here, it did not, um it did not save the it kept this offer. So basically, you're not seeing the changes that we did in a photo shop. The way to go about this is jus...

t simply too right. Click on your tiff, Interpret footage main. And here you're gonna basically, instead of doing straight unmet, you're gonna ignore the Alfa and press, OK, and I'll see what we did in food or shop. Was there just a quick did. All right, so now what we're seeing here without timeline, nothing is moving. Why? Because this is an image. So what I'd like to do is just uncheck my I hear this layer, and I could see what I need to replace or what I need to fix on the video. All right, so we're gonna check and uncheck are I to see, um, What we need to cover what we need to mask, uh, for that video to look good. So here, I'm gonna just use my press the key. Geeky, too. Use my pencil. And by selecting my tiff, I'm just going to create a mask here. The correct angle on the video part. I could do my mask high. Very warning. But I'm just gonna do this like that. Um, knife. I check this there, you should see some changes. There's some changes of color already. That's because one of the layer is an image tip high quality and the other one is an MP for with compression. So here we have the better image. But we don't want Teoh add So we're gonna open or drug done. We're going to see our mask. And as you can see here, this mask, the pink one that's like highlighted has a mode, which is the ad, and we don't want to add here. We want to substructure sub strikers Just gonna basically keep the video in the middle and only show you the outside. So we want to subtract press F or feather or just open your drug down and we want a feather all of those edges that it looks nice. So usually I go around like 100 pixels feather. It's nice, but it's not perfect. So let's fix a little bit more and we can move some of all some some of our points from the masked until satisfy it. Okay, Yeah, What really matter here is that the edges, left and right, uh, are basically cutting at almost the same level of the opposite edge. Because once it's warped in 3 60 you have it's put its passage possible. to see a line in the bag because it's not a line exactly the same from left and right here. All right, so here, this looks good to me. You can uncheck your video behind to see what we did. So this is what we did. We just added the top in the bottom. I think the feather should be a little bit more, so I'm going to increase it like that. 200. And now, if I turn on my video, See, I created a problem here, so it was a little bit too much. All right, Cool on. All right. You can fight. Fine, tune as much as you want, but you got the idea. We can now just at this to media and Corner and export it. I will just add something. I'm actually doing a mistake here, and that's a mystic from the software itself. Under project, you have a list. It'll a BPC, which is a bit Pacino. Uh, I've learned through a lot of mistakes that you have a lot of stuff dressed in management doing 3 16 and you have to really be a streak extremely careful with the default settings for each software like 30 FPs or whatever. Here we have a default setting with which is a bit Pacino. But we extracted a tiff at 16 bit Pacino. So by default, the softer is not going to use the high quality. You don't want that. So you want to change your project settings from a bit to 16 bit color. Been dead press. OK, now you can add to Adobe Media Encoder the composition, which in Adobe Me gain quarter. I also want to talk about settings. It's very easy to to decrease the resolution and the quality of your 3 60 with just one rendered. This is one render, and we probably have 45 renders to do during the whole workflow of editing the 3 60 video. So here, on your presets, you will want to keep the same resolution 38 40 by 1920. That's the best resolution to keep the refresh rate right, But you will also try to increase your bit rate settings. Switch them to CBR because you want them to be constant and increase the target to 30 up to 50. And that depends on the file size here. We're just we're just rendering for seconds. So four seconds when I changed from 30 to 50. If you look here the estimated file size 14 megabytes, if I change it 2 50 now I'm a 24 megabytes and that's just four seconds. That's important. Basically, in 3 60 you want to like a manage a bit rate and export the right way with the right sitting in the highest quality settings, 16 bit Pacino. And now you're ready to export. And that's it for after fixed company. And now you're ready to export and ready to bring us into premiere. All right, so it's rendered from all media in quarter. Let's, uh, bring this into Premiere Cruz Adobe for now, and let's drag this in premiere. Great. So the good news is you already know, Premier and the super good news is Premier came up with great features in order to kind of like work with the off. Uh, these teachers are going to be updated and get better and better, but I can show you already one which is working with your playback. Here. You can right click here and use your view video and enable VR video, which basically is gonna allow you to move around except that here we don't have the right setting the right mapping. So this can happen to you. Why is that? It was pretty easy. You need to change your sitting here under your video settings and just change stereo to Minas Coptic. You can also increase your money to a view to be 1 80 I usually neck toe, have a bit more view and vertically. Maybe just do 90. Chris. OK, all right, so now we we could see a little bit better. What's going on? So I just drag my clip in a composition eso that way I'm matching, and I have the same settings for this sequence. But I can also just rename this now because it's gonna become a main composition for editing. So just rename it a minute. We could quite mean great. Let's stop to keep this clip because it's not know, you know, great. That's at a transition. I'll just do an easy Defour transition at the beginning. Increased this to be, um, about three seconds. Same with sand, and we'll add a default transition at the end. Something like three seconds as well fade out for both video and sound. Great. If you're enabling the video of feature, you can also see the warping. But if you want some because basically, if you want to play some text at the bottom, it would be warped differently because it's a sphere. If you want some advance help in terms of like warping like effects or green screen assets or titles, you can check out Sky Bucks from Middle Studio. That's a great drugging for after effects as well as premier. But here we're gonna add some simple text. So it's just add a title, and that would be the title. Keep it title and we'll call this walk in the woods. Great. We're gonna center this and we're gonna change the size. Like, for example, the text here is way too big. So if you were to look at the warping, if I add the title here and I'm looking at this, you can see that it's kind of warped, uh, on the left and the right too much. And if I was to bring the title down here, it would get worse. If you want to walk any effects green screen assets or text Uh, anywhere in the 3 60 sphere, you would use metal skybox because it's going to convert and warp every I said correctly in that sphere. But right now for this for this. Listen, we're just gonna go simple. We're gonna just fix it, uh, by changing the size of ah, fun. So we're just make it smaller and we'll keep our text centred on the horizon of the 3 60 quid rectangular video that where there is no need to deal with warping because it's the whole rise in line. So it's basically perfectly street. So that's just close That And now we can just check it, see how it straight even though I'm turning around. All right, we're just gonna add another title here. Inspiration point till then, Park, uh, keep it sanitary for trillion horse and Tony close it. Great. Now we can probably also add, like, a default transition. Yes, four titles. Perfect. So we have middle skybox, which is a great plug in to convert text. But we also have GoPro via which comes from the same company color without a panel. Eso GoPro. We saw it here, So if you instill GoPro VR player and you have an Oculus rift, You can see as I'm rotating the rift. If I was to put it on, I would be able to check my work people to check my work and see if my Texas too big or too small and edit and go back and forth without having to render yet and working with the awesome playback of premier. That's a very good plug in to add to your set of tools to make 3 60 Let's have a little bit of music. Um, to this video, we are a little track here that we like. Well, at it below perfect. We will cut the audio. Yeah, and and we will add a default transition. Perfect. All right. You can also handle every other step of deleting workflow, as you traditionally would call correction titles, the effects. Anything you want again do on top of this stitched take and you're gonna add multiple takes courage on at it. The most important thing now is to export the right way. So there is, uh, the export, which you need to be careful with two things. A bit rate and the foul size. So depending if you're working with big studio or just independent. You may want to do some tests. You may want to compress your videos with different types of settings until you find the right settings and the right file size. Generally, for all the video of your player out there, you want to keep your file size for the entire VR experience to be below 500 megabytes, you can go upto one gigabytes. You could push it if you want, but then there will be overheating off some devices issues, and you don't want to run into this just yet. So you want to give the bit rate the college as high as possible while keeping the foul size around 500 megabytes, two gigabytes maxed for the whole experience. And and you want to export this so that it's playable. Also for Facebook 3 60 for YouTube to 60. So let's just check out export settings you're ready to to export, so you're gonna going to export media And here, Um, instead of finding a preset, I'll just talk about the settings. First settings is the bit rate. So the betrayed you should change this to constant bit rate and, uh, I said it or you're you need to up this number around 30 to and the file size, which is 30 megabytes right now would increase in eyes 90 megabytes. Um, but you can go even mawr up to 500 megabytes. Well, we're only extracting afforded 10 seconds here, so obviously it's very low. But if you have two or three minutes, it's very you get a size, that's gonna be, like, four gigabytes very quickly and you don't want that. So we give it around like 30 here. Ah, Adobe Media encoder is now shipping with one function in their media encoder, which is video is video. If you check this option, it's automatically gonna add the meta data for YouTube. And now you can use maximum inequality and you should be good to queue it and start rendering it. Oh, that's a long workflow, but that's it we are done with, edited with bricks were being exported. Our video azan em before uh kept arbitrate really high. So we're ready to a good now to you ju a feasible. So we've ended our titles and traditions and we just found like, a little nice little metal music to put under our video. We just, like, faded the music at the end and we're ready to export our video before exporting. We can just, like, test that are cut without transitions. And our music simply used the GoPro video player The plug in that works with Premier, and you can plug in your Oculus rift and start playing and again see your transition like the titles. The music. Yeah, and that's it. So now we're ready. Teoh, upload this to YouTube 3 So here we are. We, uh, rendered our video for median quarter. We used video. Ezio, check this option. We're ready to take a file and drug it in the YouTube clear. So let's take off. I'll just drug it into YouTube. Just keep that private until it good looking and that's it. You just need to wait. So YouTube is going to process your video. And since it's 3 16 it's gonna take probably longer generally, like you should wait like a fool, like maybe two or three hours for all of the different like videos to be compressed. The different compressions on you shoot up for the 38 40 by 1920 to YouTube, and it will try to play it using the 2160 or folky options. But the lower your fast size is, the better it will be for your trip to play it on any device. Just remember that 95% of people that are watching VR watching VR through the YouTube to 60 app with their phone. So if you all uploading that, said Mysterio 3 60 video, you can actually check the stewards copy. Three of the video is three D and and chicken in top bottom side by side, and they would actually make the 3 16 video three d and then sit. When you're done, you can just check it. So once it's uploaded, all 3 60 videos have this little rotation icon, just like a new Google Maps. But like I said, it takes a few hours to convert the equal rectangular into a 3 60 video with YouTube. So the first thing you'll see after your uprooted is the equating your video. Don't be scared. It just takes a few hours to Vancouver to 3 60 and everybody can start moving around. So yeah, that's it. We just went through the whole workflow. And this is how you approach to Jupiter. 60. Have fun. Make a lot of Great. Well, thank you so much, Fabian. Yeah, I appreciate your time, all your effort, all your all your words of wisdom and pro tips in the postproduction process. As he said, it is not easy on it is not quick. There's a few sort of extra layers that we have to go through a few extra hoops to jump through, and often we're sort of It's a problem solving mission problems and solutions. It's actually every that's what we made the book. It's only problems and solutions, so check it out. Making 3 60 dot com. You can download the book, um, support Fabian and his team that have put this together. It's really awesome stuff, and it's also available in Spanish. Um, so if that strikes a chord for you, you should download in Spanish, Um, and, uh and yet we're really we're excited to have Fabian's advice is part of this piece. And, uh, thanks so much. Thank you.

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.