Because it’s possible to view a fully immersive environment like this from almost any perspective, it removes cinematographic conventions. I’m a sucker for low-depth-of-field cinematography – that stylistic kind of cinematography that embodies movement or a human, hand-held feeling. We’ve used that a lot in our animation and visual effects work, putting 3D and impossible things into footage that moves like a person – people understand the conventions of documentary, and most importantly it feels real.
With this project you can’t have any of that – it’s gone. So you’re really just thinking about space and how you feel in that space, what the light would be doing in that space and so on.
It’s become a stimulus for trying to do other works that are along the same vein – and this project has opened up several different leads which we are going to develop. From a spatial design background, it will be very interesting. Maybe once the conventions have been more established around what 360 film is, we will then go through a period of breaking those conventions, establishing different genres of 360 or dome films.
Factory Fifteen got the opportunity to experiment for 360 film projection as part of the SAT symposium in Montreal
The team experimented with light-temperature contrast
Some scenes used origami effects
The transitions between spaces was the biggest challenge
Many of the spaces created were abstract