There are other tools available, but there’s generally a steeper learning curve, investment in time or simply a cost that prohibits us from exploring too deeply.
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It’s also important to use the Object Removal to take those rovers and drones out of the shot, so that’s our next most utilized tool.įrom using the Continuum VR Unit in Premiere Pro to the more robust Mocha VR interface in After Effects, the Boris FX VR tools have given us an increase in productivity without adding additional renders or branches to our process. Getting rid of that nausea-inducing horizon warp is really important. Horizon stabilization is definitely a big feature for us. We’re deeply embedded in the Adobe Creative Cloud suite, so Mocha VR’s availability as a plug-in is a great asset to us.
How has the addition of Mocha VR into your pipeline helped streamline your 360° post and VFX?ĭenig: Mocha VR has quickly become a major part of our post-production pipeline. VR technology also moves so quickly that it is anyone’s guess what kind of content we will be producing down the road. I find that while people with a background in traditional filmmaking who start working in VR have a leg up when it comes to storytelling, they often need to unlearn or adapt a lot of the traditional techniques and rules because 360° media is such a unique artform. I keep tabs on the newest technologies and subsequently spend a lot of time with my team troubleshooting the new technologies we try. I generally spend a lot of time on set, often acting as the DP, DIT, data wrangler, and VFX supervisor, and when I’m in the office I work on stitching, compositing and effects, and Unity integration.Ĭook: I oversee a lot of the production and post production of 360° and VR content we create. We’ve been able to bring our viewers around the world to far reaching places virtually everywhere and to events like The People’s March in DC, the DAPL protests at Standing Rock, and the 2016 presidential campaigns.Īs VR Technical Director and Head of VR and Immersive, what do your jobs entail?ĭenig: I focus on our 360° production and VR workflows. Naturally, when empowering people to get involved, you want to give them the best understanding of what’s happening and what this story looks like, so the move to 360° was an obvious way to do that, and really bring our viewers to the story. With every story’s call to action, you had a chance to actually make a difference. Why did RYOT make the leap to 360° filmmaking?ĭenig: RYOT began in 2013 as a news site aimed at delivering something a little different - the ability to take action on the stories you read. Here’s what they had to say in their own words: Mocha VR and the Continuum VR Unit helped finish and finesse the final 360° delivery and ended up playing a large role in the choose your own adventure/interactive experience.
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1 and how their Adobe Creative Cloud based post-production workflow is complemented with professional plug-ins from Boris FX. We recently chatted with Travis Cook, Head of VR and Immersive, and Ian Denig, VR Technical Director, to talk Door No.
The team, known for its documentary-style for the greater good content, caught the eye of Arianna Huffington and is now the VR arm of HuffPost/AOL.
RYOT is one of the leading 360/VR immersive content studios. And we, for one, are ready to high-five at a pep rally for it. The first-person POV lets you choose which path you’ll take in an attempt to track down and hook-up with your high school crush. Will a mainstream comedic interactive experience starring well-known comedians (and potentially a run-in with Snoop Dogg) play in the VR world? You’re the star of your own story in Door No. Hulu recently released its first VR app, Hulu VR, and with it a new test creative concept. 1 for Hulu will send you right back to being a kid - actually it’ll send you back to your 10 year high school reunion so more like excited anticipation mixed with a little dread. If you grew up loving choose your own adventure books or video games, RYOT’s new 360° interactive comedy Door No.
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