Where is oculus being filmed

When shooting VR, it is crucial that all of your camera modules are in lockstep so that overlapping images match precisely and can be easily stitched together in post. They have enabled so many different VR rigs is a feat unto itself, but they were not originally conceived for this task and the limitations are showing. Jaunt has since moved on to twenty-four custom built camera modules in the Jaunt ONE that provide four times the sensor size with better low light performance, higher dynamic range with eleven stops of latitude, better color reproduction, global shutters to prevent tearing of fast moving objects, and most importantly synced camera modules.

The number of cameras and their respective field of view in any given system will determine the overlap of adjacent views. You sufficient overlap between images in order to properly stitch adjacent frames together - more if you want to provide a stereo stitch. The more cameras you have in a rig and the more closely spaced they are to one another also provides a shorter minimum distance to camera allowing subjects to get much closer before stitching falls apart.

See Stitching Approaches and Distance to Subject below for more information. Another type of panoramic camera is the mirror rig. This typically has a number of cameras in a circular configuration shooting up into a collection of mirrors that are facing out into the scene at an angle.

A good example of this kind of rig is the Fraunhofer OmniCam. These rigs can be either mono or stereo and are generally bigger and heavier than other types of panorama rigs due to the mirrors. A big benefit of these rigs however is that the mirrors allow the cameras to shoot into a virtual nodal point within the mirrors that provide minimal or no parallax in the scene making stitching very easy and relatively artifact free.

Because of a shared nodal point, many of these rigs allow for realtime stitching and transmission of live imagery as there is no issue with stitches having seams. By having two cameras shooting into each mirror, you can create a seamless stereo stitch. The main drawback is the size and weight of these rigs, along with the relatively powerful computer they must be attached to for live stitching. Many consumer panoramic cameras are of this variety because they are relatively cheap, small, lightweight, and are easily stitched-usually in-camera.

Some use one lens, like the Kodak Action Cam, and capture degrees while a two lens system, like the Ricoh Theta, captures a full degrees by stitching the two halves together. Fisheye cameras are also commonly used in stereo-pair rigs for VR content, as no computational stitching is required since one fisheye sees the full hemisphere. Though they are convenient and easily stitched the quality of this type of camera is relatively low. Many can stream to an iPhone or Android device making them a good remote viewing solution if your VR camera doesn't provide one.

See below under Live Preview for more information. Prosumer versions of these types of cameras also exist with much larger lenses and sensors. Unfortunately all cameras of this type produce only monoscopic images and not stereoscopic 3D images lessening the immersion for VR purposes.

Light-field cameras are a more complicated technology to join the VR market. They represent a future of virtual reality filmmaking though their practical use is still a ways off.

Instead of focusing light through a lens and onto a sensor, there is a large array of many smaller lenses that capture light rays from every conceivable direction. In order to capture more than a small section of the panorama, the array has to either shoot a section of the circle at a time.

Currently, this technology is costly, time-consuming, and computationally intensive to implement. Much of the innovation in this realm was being lead by the now-defunct company Lytro. Light field capture allows for some pretty amazing things to be done in post including shifting parallax by moving your head in an HMD, refocusing the image, generating depth mattes and stereo 3D, and pulling mattes without a green screen.

Light field cameras were first popularized in the consumer market with the Lytro Illum still camera. Paul Debevec at Google has recently been demonstrating camera configurations to bring light fields to a wider audience. To fully realize scene capture for VR you need to change your thinking entirely and move from the current inside-out methodology to an outside-in perspective. That is, instead of filming with an array of cameras that are facing out into the scene, surround the scene with an array of cameras that are looking in.

Microsoft has created a video based photogrammetry technology used to create holographic videos for its HoloLens augmented reality headset called Free Viewpoint Video.

An array of cameras placed around a green screen stage captures video from many different angles where it is then processed using advanced photogrammetry techniques to create a full 3D mesh with projection mapped textures of whatever is in the scene. Their technology uses advanced mesh tessellation, smoothed mesh reduction, and compression to create scenes that you can actually walk around in VR or AR.

Another company working in this space, 8i, uses a similar array of cameras to capture what they call volumetric video stored in a proprietary compressed light field format. This technology does not create a full CG mesh though that is an option but yet still allows you to walk about the scene and observe it from any angle. For more info visit 8i. This sector of volumetric capture and streaming is quickly gaining interest and platforms in recent months, and may yet play a large role in the future of mixed reality.

Whatever the technology or approach, advanced realtime photogrammetry techniques will be an important capture technology in the not too distant future allowing you to fully immerse yourself in any scene.

As the technology improves and reduces in cost, it will also allow consumers to truly connect like never before through holographic video feeds and social environments.

Upcoming David Attenborough documentary Conquest of the Skies isn't just being filmed in 3D, there's also a virtual-reality version being created for the Oculus Rift. Sir David Attenborough is no stranger to shooting in 3D, with quite a few of his documentaries already filmed in the format for Sky 3D.

His latest one, though -- Conquest of the Skies , currently being filmed by Atlantic Productions -- will be possibly the first nature documentary filmed for a full virtual reality experience. As well as the usual 3D camera rig, the company is using additional equipment for a version for the Oculus Rift.

The algorithms that generate Oculus-compatible films are unforgiving as they create an immersive experience. For that reason, several laptops with attached Oculus headsets were stationed nearby to let the director and producers make sure the tentative experience was okay. Black Mass will be one of the earliest films released for the Oculus Rift alongside the documentary Zero Point.

Earlier this year, director James Cameron expressed his interest in working with the Oculus Rift in a Reddit question-and-answer session. AWS Deloitte Genpact. Events Innovation Festival. Follow us:. By Neal Ungerleider 4 minute Read. Impact Impact 3 reasons agriculture is poised for a surge of sustainable innovation Impact These seaweed-inspired generators create underwater wave power Impact Why this former Tesla engineer now works on battery recycling.

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