chasing coral

Sundance The Art of Chasing Coral.com Adobe Creative Cloud

Description: The following article mentions a film which has been related to the topic of chasing coral, covering some background of the film setting and some problems they met during shooting.

My name is Jeffrey latke and I’m the director of cakes and coral, both the feature film and the VXR prairie chicken coral, the film that we made over the last three and a half years following a team of adventurers and divers and scientists on this crazy epic trip around the planet.

We’ve been aware of this story, that’s happening to the oceans in the coral reef and we wanted to do something to visualize it and to show people what’s happening to corals, I think we’ve had the approach of getting access to the story from any angle.

We can leverage any tool or technology, we were capturing materials for the film itself, but how we can distribute it and get people, that experience only 0.1% of the world population go scuba diving.

If you can put on a VR headset, you can get to go diving, it’s the first time you can have that virtual experience of being submerged being in the water, having fish swim around you and come up to you.

It’s the closest, you can get to scuba diving without flying to the ocean, when approaching either like a feature documentary versus VR piece, you can’t shoot them at the same time, the first thing is because that VR camera is going to capture the full 360 experience, I’ve seen enough VR films at this point.

You get a sense of the language and the way you can use it and where you can place it and that’s much more of a specific way in which we had to shoot, if I was having the most immersive experience in this place and that’s where you put the camera, that’s the easiest way to think of it.

I think this is the first VR piece that I’ve made and it was fun, one of the challenging things we didn’t have the post-production resources in the field, so we were shooting blind, we weren’t stitching, I had no feedback on what was working or what wasn’t working.

If our exposures are working, if sub framerate sink was good enough or not, we were much shooting, everything we possibly could and we came back and stitched everything together and saw what kind of film we can make from it.

Our team is based in Colorado. I was up in Boulder and our editing team is mostly in Denver and we cut in Premiere, our projects were very large and we’re talking about hundreds and hundreds of hours at those resolutions, so we proxied everything at the beginning, so separate from 160 terabytes in the multiple sets of those drives.

We had the sets of proxy drives where everything was in 1080 until we cut in 1080, so our editor on the VR piece would be cutting in mostly in Premiere and we’d see it on the screen, he’d export everything out to a phone, they kept there and we kept doing these round trips and we’d watch it in VR.

We go back to make some tweaks and get a feeling, this is all new for us, we had never done any viewer projects before and we went for it and we’re able to pull it all off in Premiere learning the relative scale.

It’s too big, it’s in your face and sometimes we had to do some image overlays, we show some of the time lapses that are featured in the feature film, some of the time lapses are in the VR piece and trying to dial in the size and the scale and see what headsets is.

It was awesome experience, you’re always looking for a new way to tell a story, you’re looking for ways to engage, you’re always looking for what is cutting-edge, not for me, not for the sake of it being cutting-edge, we learned about this VR technology and we can take people scuba diving.

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