What is the 3D 180 VR shooting point?

Which is the best vantage position for a 3D 180° VR shootout? ! Shooting. Which is the best vantage position for a 3D 180° VR shootout? ! Shooting

Let the gunfire begin! furthermore prior to

Based on the information presented in the first lecture, the second project will be a daring attempt at 360-degree VR videography.

As a first step, we conducted some VR shooting trials immediately following yesterday's discussion with the PRONEWS editorial crew. A fashion photo session was one of them. I had the model stand in the centre of the frame for a wide-angle shot, but the immersive experience of virtual reality was lost on me. Instead, what piques my curiosity are random coincidences when I spot unconnected persons mirrored in the environment.

The norm in the real world example. It was fascinating to see the band and the crowd interact.

A live house band was another subject of my camera. During the band's solo section, I appreciated being able to look directly at each member of the band, and I found it fascinating to see the reflections of audience members holding infants in the corner of the screen. Even while the band is playing, I find myself watching the television for reasons other than the music.

It's the idea of "cutting off the location"

In light of these, I was reminded of what Mr. Yajima of Canon said during the lecture I attended the other day. A user commented, "Cut out the place," highlighting a key selling point of 3D 180° VR: the feeling of being completely immersed in whatever scene you're seeing. I made up my mind to come up with some sort of filming scenario that would emphasise that.

We need to know which parts of the movie the audience won't get to view so that we know what to remove.

One idea we had was to place a virtual reality camera at the location of the still shoot so that viewers could observe the model, cameraman, director, etc. as though they were paying customers. But, PRONEWS thought the "coverage site" would be fascinating from their perspective.

The editorial team conducts interviews in a variety of settings, but the findings are seldom revealed outside of publications, and the locations of the interviews are rarely disclosed. As far as I was concerned, just being there would be an exciting adventure.

Japanese photographer and filmmaker Goto Aki is in town for a visit.

Using the Canon EOS R5 C and the RF5.2mm F2.8 L DUAL FISHEYE, we opted to capture photographer/videographer Goto Aki at his own atelier in 3D 180° VR. Rice paddies.

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The emotions I experienced at the scene of the shooting are detailed below.

Putting in Cameras in the Field

The apparatus requires minimal effort to set up. Just mounting the R5 C and RF5.2mm F2.8 L DUAL FISHEYE on a little tripod and setting the level will complete the compact setup. Obviously, shooting VR with two cameras is a laborious process. If the tripod is not reflected, you'll need to figure out a method to place the camera slightly in front of the tripod. We took a chance on an underappreciated production this time.

Adjusting the focus

To further examine the focus location, I utilised an external device to produce the image and used the tablet as an external monitor, rather than relying solely on the R5 C's LCD screen. A bigger monitor would be useful for this purpose since the image will be atypical in that it will be a 360-degree fisheye, and it would be important to determine how much of the surrounding environment is reflected.

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battery

This time around, the shooting time was short enough that I could get by with the battery I had on hand; however, the R5 C is also compatible with a USB power source. While filming for extended periods of time, a spare battery is highly recommended.

Capturing in Virtual Reality with an EOS and Its Formats

As soon as we arrived at the actualization site, we set up for a quick practise run. Nevertheless, the EOS VR Utility conversion of the file I shot on location was unsuccessful. The root reason was that MXF was selected as the recording format. MP4 and RAW are both supported by EOS VR Utility, however MXF is not.

It's embarrassing to admit, but this happened because I was filming in MXF for some other purpose. Shooting in VR requires extra caution, and not only for newcomers. The value of a dry run was confirmed for me. Converting and double-checking using EOS VR Utility at the location of the shot is highly advised.

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camera position

In the present moment,

Perspective that echoes the one of the interviewer

Shot from a perspective that obscures the interviewer

Position yourself at an acute angle to the person being interviewed.

I experimented with taking shots from three different positions. I also ventured to incorporate motion, such as shifting position throughout the interview so that the motionless cameraman would be mirrored in the edge of the frame.

To that end, I want to keep thinking about the many options available for establishing a feeling of separation between the viewer and the action.

as the dust settles

HAI GOTO AKI

Date of birth: 1972. By fusing the viewpoints of natural science and snapshot photography, he is actively modernising the Japanese landscape photography genre. He exhibited these photographs and published them in a book titled "terra," which earned him the 2020 New Face Award from the Photography Society of Japan. gotoaki.com

When I first started using the EOS R5 C, the RF5.2mm F2.8 L DUAL FISHEYE, and the EOS VR Utility, I was overwhelmed by the number of new concepts to learn and the degree to which they diverged from my experience with conventional photography. I was able to try it out thoroughly, and I advocated for its widespread adoption as a novel medium for capturing and appreciating visual content.

Another thing to think about is whether or not I might have benefitted from wearing VR goggles at the scene in order to test the file converted with EOS VR Utility while I watched it; if I did, I would definitely give it a shot the next time. I'd want to

Feel free to see the VR video interview with Mr. GOTO AKI at your convenience. On the last day of CP+2023 (February 26), Mr. GOTO AKI will host a seminar at the Canon booth.