- finally got the first major fulldome show out of the way. learned a lot on the way and managed to cheat some of the more difficult shots liek 100 drummers around in fire in a long house and video of the coastline of vancouver at night .
client was delighted.
an immersive journey encompassing all of aboriginal canada ( no mean feat)
- Well done! Well done! That's something to be proud of!
Ott Planetarium - Weber State University
Sent from my iPod. Please excuse any misspellings or half-baked ideas.
- Congratulations - looks like a very cool project.
I'd love to hear a bit about the production pipeline and also the projection
system you used....
On Sun, Feb 28, 2010 at 2:04 AM, deepvisual <gary@...> wrote:
> finally got the first major fulldome show out of the way. learned a lot on
> the way and managed to cheat some of the more difficult shots liek 100
> drummers around in fire in a long house and video of the coastline of
> vancouver at night .
> client was delighted.
> an immersive journey encompassing all of aboriginal canada ( no mean feat)
- it was a rollercoaster ride all the way.
the content was a political minefield and we had to find a careful balance between being local and national, authentic and modern all at the same time. We had initially teamed up with a company from Montreal to produce this, but we had to drop them as it quickly became apparent that they couldn't deliver at this level, so I ended up running the project myself.
much of the compositing was done using the after effects fulldome plug in from multimeios, though some of the fancier bits were done in cinema 4D - the Totem eagle was modelled and animated in 3D studio.
We had to fake most of the fulldome environments - no one seems to have a photo of the inside of an igloo - in fact some Inuit performers were struggling to find an interior shot of an igloo and ended up using the one I had faked in photoshop. Some of the other parts were shot in HD video using a Sony EX1 on a nodal ninja and comped into a single fisheye in after effects
the skies were timelapsed using a Nikon d300s and the 4.5mm sigma fisheye lens.
the shots of the drummers were done one at a time on greenscreen , with the flickering flame effects projected onto them during the shooting. This was all comped into a single 130 layer project that took forever to render.
As usual it was the simple things that worked the best., the rainfall and the archive photos for example. I had recognised that the stills were going to be the real emotional trigger and it worked every time. For the Aboriginal canadians to see their ancestors above them looking down on them confirmed everything they feel about themselves and their place in the world.
The locals have a habit of looking you straight in the eye and talking straight from the heart, which can be very over powering if you are not used to it. one of them who worked at the venue said this - "the first time I saw your show, it gave me goosebumps and now 45 times later, it still gives me goosebumps. I have 807 generations of my ancestors up there on the screen looking down on me."
Working with the aboriginals was challenging at times. some of them have no sense of time or urgency and would just turn up for shoots often 3 days late and still expect to be included. which we had to do as saying no wasn't an option.
Our biggest challenge was the music which was only finished 3 days before the show. Luckily the guys involved got it right, but I'm not used to working without audio.
playback was 4 x christie 20k roadstars with 0.67 lenses through a modified planetarium server ( i'm not at liberty to name who made it) - we had two realtime cinema 2k DVI inputs which we hooked up to macs running Modul8 - a realtime visuals program that lets you perform video. We relied on this for fullldome projections for the evening shows which were a wide mix of everything, from eskimo throat singers to hard rock.
in the end we had over 200,000 people through the doors during the 17 days were were open.