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This template worked like a custom made DeJohn, the flexibility of DaVinci Resolve Studio made the complex workflow much more manageable. This orientation adjustment was handled using a Fusion FX template I created that I could access from Resolve’s edit page. For instance, in shot A, if a character walks from in front of the viewer to 90 degrees on the right, shot B's subject should be positioned at that same point, 90 degrees off center, on the right as well. “The main goal is to put the subject of the shot in front of where the viewer is likely to be looking. “Orientation is very important in VR, and often needs to be adjusted on a per shot basis,” said DeJohn. Once setup was complete, including syncing spatial audio and mic tracks, the editorial process could begin.Ĭonstant considerations for VR made the process anything but normal, and the ability to access Fusion functionality within the DaVinci Resolve Studio edit page was critical.
Editor Matt DeJohn used DaVinci Resolve Studio, creating a timeline at 7680 x 7680 resolution with the added complexity of stereoscopic left and right eye in top/bottom orientation.
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These angles were then stitched together to create a full 360 degree, stereoscopic image. Griffith used a VR camera with eight lenses designed to capture a 360 degree view, which produced eight clips at 3840 x 2880 resolution each. I have to climb these mountains as well, and I have to put the rigging system together myself. Our type of production doesn’t have huge rigging systems it’s just me with what I can carry.
We need to shoot a 360 degree panorama around our subject, so we have to get the camera out from the cliff as far as we possibly can. “When you're shooting traditional media, you have the classic climbing shot from above the climber looking down, and the climber’s roped in with a big drop underneath them,” said Griffith. Complex technical planning was required to allow Griffith to capture the adventure as realistically as possible without a large crew or extensive gear. So, I sent him a headset, he watched ‘Everest,’ and he was completely hooked by the possibilities of creating an amazing soloing VR challenge of producing a high quality VR climbing experience is more than finding the right person to feature. “But I knew that as long as I got Alex to watch ‘Everest VR’ that I would totally have him. “Part of the challenge in VR is convincing people that really good VR is a really, really amazing experience,” said Griffith. However, convincing the renowned climber to join the VR world was the first step.
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The film, from Jonathan Griffith Productions, is available on the Oculus TV app via all Meta Quest VR headsets.Īfter his successful film “Everest VR,” Griffith was eager to make a film about solo climbing, or soloing, and Honnold was the most logical person to approach.
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The two part VR experience “Alex Honnold: The Soloist VR,” which premiered on March 3, follows the California native on solo ascents across two continents, documenting free ascent climbs in some of the most remote and wildest locations possible.
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Additionally, 2D and 3D compositing, VR and motion graphics software Fusion Studio was used to process the multi camera, stereoscopic VR imagery. Alex Honnold: The Soloist VR Posted in DaVinci Resolve Studio and Fusion Studioįremont, CA – Ma– Blackmagic Design today announced that the newest virtual reality (VR) film from filmmaker Jonathan Griffith, featuring world renowned rock climber Alex Honnold (“Free Solo”), was edited in DaVinci Resolve Studio editing, color grading, visual effects (VFX) and audio post production software.