3/19/2023 0 Comments Ptgui 360 video stitching![]() ![]() DaVinci Resolve Studio 17 - I am using the beta (7).Here are the tools you’ll need to complete this workflow: Resolve Studio supports the 12K BRAW codec, and its intuitive editing interface means you can complete your entire project in a single app. ![]() Having been used to the ridiculous pricing that is Nuke, that’s a screaming good deal any way you look at it. That comes with a license to use Fusion Studio standalone with it’s unlimited render nodes. It ships free with the purchase of the camera, but even without, it is only $295 for a perpetual license. More on this later in this article.ĭaVinci Resolve Studio is what I used to work with the media we captured. Ideally, access to a FAST shared storage server such as a Lumaforge Jellyfish and several other computers to help you render. ![]() These files can be HUGE and also you want fast read/write times to be able to access the files quickly. Without it, I was getting all sorts of errors while attempting to stitch in Resolve. TL:DR You need a serious machine to work with the best footage this camera can capture. So, I knew that figuring out the post workflow for the camera would be a first priority before filming a commercial project with it. I can’t tell you how many projects I’ve come across since beginning to work in this industry that have either failed to finish or weren’t able to finish in the way the creatives envisioned because of this fact. The DaVinci Resolve Post Production Workflowįilming a project on a 360 camera without understanding the post production workflow is a recipe for disaster. That may not be as much of a deal breaker as originally thought, since utilizing BRAW in Resolve with the Fusion tab also seems to bring my workstation to its knees. However, as of this writing, it can’t work with the native BRAW files from this camera, forcing a transcode into something in order to use it. Yes, it is expensive, but it saves me so much time that it easily pays for itself IMO. Mistika Boutique is still my preferred post production tool for creating 360 media. I am always looking for the fastest and most scalable way to produce content and that was my goal when battle testing these workflows. I cut my teeth in the industry designing post production workflows and learning how to manage jobs on a budget and deadline with a team of people. I’m looking forward to seeing how you decide to color it. There was no IR filter installed, so I expect the colors to be quite red and difficult to nail. This was shot at full 12K resolution at 60fps using Q0. To follow along, check out this sample content. If you are considering purchasing or renting this system to use on a project, I strongly recommend reading both and understanding exactly what this camera is and is not capable of before diving in. Here we’ll talk about the post production workflow I’ve been battle testing over the past few weeks, while part 1 talks in depth about the production and how the camera is to use on set. This is Part 2 of a two part series that chronicles how I built a workflow with this camera to capture and produce extremely high quality monoscopic 360 video. ![]()
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