Welcome to my second post about VR filmmaking. The following might contain recapped elements from my previous post. Firstly the bare minimum that one might need to actually produce a 360-degree film is the same as regular filmmaking. A Video camera, a suitable lens, and a means to store the footage. But to shoot with one lens, suggested compromises are made which will the main topic of today’s discussion.
Firstly you must remember some important rules before actually trying to capture 360-degree video: one of them being a stable rig that is small as possible, to minimise parallax. The need to use identical cameras, with identical settings for each camera.
In this day and age people of all ages, I think are very spoilt when it comes to the camera selection. They often come with some signs but as is becoming credible, shooting VR is all about making compromises. Some resolutions are astonishing but the colour is just absolutely horrendous colour representation. There are other cameras which let you have full control over the amount of exposure you might get some other cameras might let you have complete control over the exposure and synchronization but are the size of small refrigerators.
Finding the middle ground that will actually make you comfortable, actually, requires you to have an understanding of what significance each choice will have. The size of the actual camera has the most direct interconnection to parallax and as will play the biggest part in how what you have recorded will look when it comes to editing. When multiple smaller cameras are used, they can be placed together, and in other words, placed as close as possible to the ‘no-parallax point’. Although any offset from this point will cause errors to appear, in this case, smaller is definitely better. For an example the GoPro Hero 4 has an outstandingly small bod, making it very favourable for multi-camera setups. For VR the best option is to use 6 cameras just to make up one rig, which would be scarcely larger.
Larger cameras, you can imagine are much larger for a reason, because they have inside them larger sensors and more practical electronics. When comparing to the Go-Pro. A DSRL seems ridiculously large – but they offer lenses that can be changeable, the low light performance, manual exposure and remote control to name a few, are the features that are also included. The one downside that is heavily apparent is the fact that the Parallax is very heavy on errors.
Cinema-quality cameras which are used for Hollywood productions and that are not commercially available to the public, such as Arri Alexa and the Red Dragon are truly hefty and cannot be swung around easily. But with all the bulk, the features are also in abundance, because the features of a DSLR as well as true time synchronisation, uncompressed recording and a dynamic range that will make any camera owner to throw their current owned device in the bin