Issue link: https://digital.copcomm.com/i/1538125
The compact rig unlocked creative possibilities. "We could fi lm in tight spaces, between furniture, in basements, close to our subjects," noted Rochereuil. "One standout example is a beautiful shot that mimics the eff ect of a dolly zoom, using the cameras mounted on sliders. We could only make these choices because the rig was so lightweight and compact." Agulhon added, "We wanted to fully saturate the Vision Pro's capabilities and approach real world fi delity. That priority shaped the decision to use Blackmagic equipment, providing the cinematic sharpness and depth needed to bring the immersive experience to life." This was TARGO's fi rst project on which it could bring the entire workfl ow together in DaVinci Resolve Studio. "Unif ying our video pipeline for edit, conform, grade, and delivery in one tool reduced the variables and centralized our process around a familiar skill set," explained Joanas. A key advantage was DaVinci Resolve Studio's native support for stereoscopic 3D workfl ows. "Historically, our stereo alignment pipeline would have been scattered across multiple tools," revealed Joanas. "Through Resolve, we not only reduced the need for round-tripping, but also improved how we collaborated." That ability to edit stereoscopic footage using a traditional 2D workfl ow proved crucial. "We were essentially operating in a 2D environment, using stacked le and right images that synced with a few clicks," said Joanas. "It allowed us to edit stereo video using a mono display while still exporting in side-by-side formats for delivery." Bridging Two Languages The game engine Unity became the fi nal assembly space where all parts of the experience came together. "It wasn't just a delivery tool, it's where we integrated spatial video, immersive scenes, interactive elements, and 3D environments into a single master timeline," said Agulhon. To maintain visual fi delity, all editing, depth grading, and encoding happened fi rst in DaVinci Resolve Studio. "Having Resolve as our central video platform simplifi ed what could have been a very fragmented process," says Joanas. He added, "Once the assets were fi nalized, we brought them into Unity strictly for playback, to minimise processing load, ensuring both visual fi delity and performance on the Vision Pro." Unity wasn't designed for traditional cinematic storytelling, so adapting it for a documentary meant building custom workfl ows. "We had to bridge two very diff erent worlds: the linear, frame-accurate language of fi lm and the real- time, interactive logic of game engines," noted Agulhon. "It allowed us to blend cinematic storytelling with real-time interactivity and move seamlessly between spatial video and fully interactive sequences," Rochereuil added. "That kind of format-shi ing, without breaking immersion, was key to telling the story in the way it needed to be told," concluded Rochereuil. " For 'D-Day: The Camera Soldier,' TARGO developed a miniaturized rig around two Blackmagic Micro Studio Camera 4K G2s to capture the spatial footage. Blackmagic Design 333 N. Glenoaks Boulevard, Suite 250, Burbank, CA 91502 Phone +1 408 954 0500 Fax +1 408 954 0508 Contact Us Email info-usa@blackmagicdesign.com