Lei Feng network (search "Lei Feng network" public concern) : Author of this article Ou Xin, senior VR video film maker, has a wealth of 3D giant screen movie shooting experience. As an executive director, he participated in the shooting of many giant screen films of the American GSF Group. Huang Xiaoming is the producer of the first VR miniseries, "Every Thousand Waters Always Love."
Recently, I just finished filming a VR public interest video "Losing", a mother-child love theme, which is considered the first domestic first-view VR public interest video. I have a lot of feelings here. Here I share the pits we stepped through in the VR shooting process and reluctantly resolved. I hope to give some help to colleagues who are interested in shooting VR video content. Everyone tries more and regulates the process of VR film and video shooting. Or is there a chance to shoot a very exciting and overtaking foreign counterpart?
cause When the team brainstormed a month ago, they decided to take the first Chinese VR movie from the first person perspective. At present, VR video's "immersiveness" and "presence" are particularly suitable for shooting suspense and horror themes. But the result of the discussion was: Many foreigners had taken many of these scary things before and everyone wanted to do more meaningful things.
Mother love theme VR movie? This is to dig a huge pit for ourselves to fill in. Immediately my brain started deducing the film. There are two dimensions of great challenges: the art of the plot and the realization of technology. First of all, in terms of the plot, this is basically a "Tear Gas Bullet" type of Thai commercial appeal, but how can this kind of form of panoramic video be able to express the delicate feelings? In addition, this technology pit from the first person's perspective, the problem of the VR camera's movement, we also have no particularly suitable solution. No gyro stabilizer for VR camera how to stabilize the device? The various shaking of the traditional lens language can express the sentiment, presence, and tension of the director to the audience. However, if the VR shooting equipment is shaken, it is to ask the audience to "spit". Anyway, pinch your nose and fill it.
After subdividing, it includes the following six parts:
First, the creation of the script
Second, scene perspective
Third, audio-visual language
Fourth, technical realization
V. Photographer
Six, lighting layout
First, the creation of the scriptI contacted two non-famous screenwriter professionals and had experience in creating television dramas and even television scripts. However, after several books were handed over, I discovered that the screenwriters were really lacking in the experience of VR panorama. The book is not suitable for VR shooting.
There are also VR dramas that are designed to set four 90-degree stages in different directions, allowing the viewer to be exposed to four simultaneous scenes. By turning his head to see different phases of his life, this is also an expression. Only the team agreed that they need to go further. At present, most of the VR movies are fixed seats and third-person, we propose an innovative point - we must "move up" and "first person", otherwise we would not do it Such a movie. Because they do not explore and promote, they lose the significance of doing this film.
Traditional images are presented from the third person perspective or from the perspective of God. In recent years, with the miniaturization of photographic equipment, many short films or commercials filmed in the first person have appeared, allowing the audience to have an addiction to the protagonist. For VR movies, if we only watch from a third person perspective, who is “I†in this space? Ghost? If it is a one-person view, I cannot see my own body. What do the audience think? Ghost? What kind of reaction does the audience see when this body is not his own? The sense of substitution of these characters seems to be impossible to say.
In the immersive experience of VR, first-person viewers will have self-consciousness, and with self-awareness, there will be self-selection needs. At present, VR movies cannot interact as games. (Expect the theory of film and television to develop and improve the theoretical knowledge of VR film).
In the previous VR video production process and continuous experience of learning some excellent VR videos at home and abroad, I found that VR movies are just like the traditional movies. The story is the core of the movie, just like we are watching a movie now. The film is good or bad, what the audience cares about is not what technology you used, but what is your story? Can the story attract the audience? So VR is just a form. To find a true heart-to-heart story, this film is only half successful. Fortunately, our screenwriter team has rich experience. With some personal experience, we have created a "lost" script.
Second, scene perspectiveThe next important thing to consider is the scenario. Because unlike conventional movies, it is more about how each shot is taken (so there is a fractional script). VR video is more important to consider the scene, the sense of the establishment of the scene space is crucial. When the viewer wears VR glasses and traverses into the scene, the viewer believes in the scene you created and your story is half successful. So we sought out and set the scene for the Internet cafes, university campuses and hospitals in the 1990s.
When we watch a regular movie and TV drama, when we are totally dipping into the story, we will have a sense of "immersion" and "presence," but since we are watching outside the picture frame, it is really very important to do this. not easy. The VR movie has natural "immersive" and "presence" attributes. This is why everyone is particularly optimistic about VR Xiao Huang films. We think of ways to enhance the audience's "immersion" and "presence". The first-person perspective is a basic step. There is more to thinking about designing interactions from the storyline. In the final analysis, it is necessary to fool the viewer to let Ta believe into the story.
The first-person perspective is that the camera becomes an audience and all narratives become the user's experience. It is important that the role of the character in the video and the audience reflect the emotional changes in the relationship between the character and the viewer. For example, if we use the son's perspective to shoot, his distance from the mother's role in his youthful treachery in his teens should be "son" deliberately extended. Growing up in adulthood, after experiencing frost and frost, the heartfelt sentiment toward the mother in her heart can be reflected by her proximity to her mother, such as designing a bridge for the elderly mother to express her feelings.
There was a very simple idea in a program called “Goddess Takes Me on Travel†that we made before. By increasing/reducing the distance between the hostess and the viewer (VR camera), the two are instantly and closely related. Contact, in the traditional film and television works, the director has a variety of ways to express the distance of the picture, such as close-up, medium and long-range, while the photographer also has various focal lengths of the lens to achieve the requirements of the director. However, in the VR film and television works, the current panoramic photography equipment cannot change the focal length, and there is no “composition†in a 360-degree picture. In order to achieve a similar effect, we have to rely on the role and the audience (VR camera) ) The distance is far and near.
There is also audiovisual language. Regular film and television is the director through a set of mature video and audio language skills, to bring the thoughts and stories he wants to express to the audience. Now there is a common problem that when we say VR movies, we always compare and understand traditional movies. The current VR film shooting stage can be understood as when the film recorder was invented more than a hundred years ago. At that time, the movie practitioners did not know the "sliding and shaking," and had not yet developed a mature film language and did not Montage's editing techniques, but through the efforts of several generations of filmmakers, in the 60s and 70s of the previous world, modern film theory and lens language were only qualitative. Similarly, current VR film practitioners do not have any mature VR creation theory and techniques to refer to and copy .
However, we can't deny that the development of technology and theory is very fast now. I believe we don’t need to spend another 50 years. Maybe we only need 10 years and at most 20 years, we can create a brand new concept. It is the concept of VR film and television. Before that, this is why we now need to keep trial and error to fill pits. All of our current attempts are probably the "first time." I think why the team insists on the first person's VR shooting, even if I had expected it to be technically not a very successful attempt. However, we have to jump in the pits to fill in, and to sum up some lessons for everyone. This is the significance of our doing this.
Fourth, technical realizationSay some technical pits. One of the recognized problems in current VR shooting equipment is the patchwork problem caused by parallax . Parallax is the difference in direction produced by observing the same target from two points at a certain distance. For example, when you put a finger in front of your eyes, close your right eye first and look at it with your left eye; then close your left eye and look at it with your right eye, you will find that the position of the relatively distant object has changed. This is From different perspectives to see the same point of parallax. VR cameras are now in the screen by a plurality of conventional camera in a certain layout so that shooting can complete patchwork into a 360-degree spherical video. When an object passes through two shots, the relative distance between the two shots capturing the same object will be different. At present, this problem cannot be effectively solved. Only by adopting early shooting and late methods can reduce and reduce the flaws of the seams .
When the fixed position is stitched, the seams behind the same material can be automatically aligned after the first frame is synchronized. Therefore, the efficiency and effect of the fixed position shooting in the later period are the best forms of the current VR film shooting. The motion of the camera and each individual camera's video may be different for each frame or even half frame. The images and angles of the same object captured by two adjacent cameras are different, so the movement of the camera is different. Will enlarge the patchwork.
Although there are some ways to deal with it, facing the industry-recognized problem, it is like holding an 18th-century flintlock to fight a modern warfare. No matter how we deal with it, it's not like a fixed place to stitch the video together. The effect is good, and the embarrassment brought by the sports seat is very easy to see. Due to the current problem of traditional optical imaging, parallax cannot be avoided. However, in the early stage of recording and recording, the parallax can only be reduced and cannot be essentially avoided.
In addition to taking into account the weight and volume of the first person shooting equipment, in this "lost" project we selected two sets of 7-piece Gopro stents (commonly known as dog cages) from a large number of purchased VR shooting equipment. In order to balance quality, reduce post-workload and reduce parallax. Because more camera lenses will increase the overlap area of ​​the collage while reducing the parallax. However, the problem of excessive camera splicing is also obvious. These problems include an increase in the amount of data management, excessive effective pixel utilization in overlapping areas, and synchronization problems. So how many cameras and lenses are the best solutions? I think I still have to look forward to those traditional and giant technology companies that have real technological research strengths to do the basic solution and post-phase algorithm for us from the imaging element to the lens level. Before that (Now Nokia's OZO is not an epoch-making VR camera too), we used a dog cage for shamelessly helplessness in view of the Red Dragon we had used before or the Sony A7 solution.
V. PhotographerThen, the photographer's question came again. Because there is no VR version of Stan Nikon and no 3-axis gyro stabilizing device, after the VR dog cage is put on the photographer's head, we need to strengthen the photographer due to the unconscious vibration of the human body and the shake caused by the movement walking. Train to avoid and reduce shaking. Furthermore, because the VR dog cage is placed on top of the photographer's head, an overly high position will give the viewer an unnatural viewing angle. Photographers need to be as close as possible to lower the altitude. So if your parents did not give you a high altitude (below 1.5 meters), and you happen to want to be a photographer, please contact us, we help you achieve your ideals...
The last question is lighting. The most important thing in shooting traditional films is light. Film is the art of light and shadow. Using good lighting can create a good scene. Also, the sensitivity of current conventional cameras is not very high, so in most cases, especially in the indoor environment, we still need to light up. In order not to let the lights go through, we added a large number of point lights in addition to the brightness of the prop lamp in the indoor scene to enhance the overall ambient light illumination and shape the contrast of light and shadow.
Although there are still many problems with this film, we have courageously embarked on these pits and made some contribution to the VR film and television industry. I think this is the greatest value of this film.
Finally I want to talk about the production process. I used to cooperate with many international directors on giant screen movies and television commercials. A scientific process specification is very important for film and television production. It seems that VR film and television have a good scientific production process is particularly important, I hope you can come with us to make the VR film and television standard process, this time, we have to catch up even more than foreign VR film and television counterparts!
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