Post Magazine

October 2018

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www.postmagazine.com 30 POST OCTOBER 2018 F ilmmaker Jim Geduldick used to pack much lighter than he does now while traveling for a shoot. That's because immersive storytell- ing is becoming more realistic, and as a key player in this growing medium, he and his team are forging new paths as they merge storytelling and technology to deliver new perspectives. An experienced cinematographer/director/ technologist who is always up for exploring new mediums and tools, Geduldick's jump to VR/MR has resulted in a significant shift in his overall workflow. While 2D capture is doable with a few different cameras, in order to capture footage for immersive projects, the filmmaker is looking at a number of cameras, all with multiple lenses and sensors, sometimes resulting in capture arrays exceeding 17 sources. And, while a project with a single camera may amass a few gigabytes of data, Geduldick's team is, at minimum, facing terabytes, if not petabytes, with immersive capture. Over the past few years, Geduldick — founder of Wairua Studios (Portland, OR) — has honed his skills in VR on such projects as Discovery TRVLR, a 38-episode virtual-reality travel series that explores cultures around the globe. Here, he discusses his foray into this burgeoning medium, the associated challenges, his best practices for a VR workflow and his views about the future of this medium in an ex- clusive interview by CGW editor Karen Moltenbrey for Post magazine. When did you start working on VR films? "Back in 2009 when I was experimenting and shooting stereoscopic projects. It was early VR180 (3D) days and I was using nodal-based DSLR rigs to shoot 360 spherical plates for projection back- plates. So, I have been working and experimenting in VR for a while." IMMERSIVE STORYTELLING FILMMAKER JIM GEDULDICK TRANSFORMS HIS WORKFLOW FOR THIS EXCITING MEDIUM BY KAREN MOLTENBREY AR/VR SPECIAL SECTION: Spherical image from Hawaii.

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