Adobe User Story: Virtual Reality with Purpose
Adobe Creative Cloud has been an important piece for Jonathan Powell and Brian Mahoney who have started working with virtual reality and 360-degree video.
Adobe: What is your workflow for creating VR and 360-degree content?
Powell: We shoot footage, pull all the files into a stitching software, and stitch them together to make the full 360, equirectangular video. From there we pull it into Adobe Premiere Pro CC and start pulling all the shots and actually cutting up the scenes to establish the flow of the video. We also do a lot of color correcting in Premiere Pro using the basic correction and color wheels in the Lumetri color panel in combination with the Vectorscope YUV, Parade RGB, and Waveform YC Scopes. This helps us get the most accurate color possible.
After we establish how we want it to flow, we’ll export from Premiere Pro into Adobe After Effects CC. We use the Mettle SkyBox plugin for After Effects to do all of our graphics, motion graphics, visual effects, and animation. Finally, we repackage the project, export it back into Premiere Pro, and export the final. We also use Adobe Photoshop CC and Illustrator CC for graphics work.
Mahoney: We’re working on a prototype of the Baltimore Aquarium right now. What’s really great about the process is we can model things in a 3D game engine like Unreal, kick out video, and then merge not only real-world 360 video but actually 3D game engine created content, using the Adobe apps to add all the bells and whistles on top.
Powell: We can do that with imaging sequencing too. We can spit stereoscopic shots out of the game engines, pull them into Premiere Pro, and then export stereoscopic. Adobe Premiere Pro has a monoscopic export, stereo left to right, and stereo top and bottom. It’s cool to see Adobe putting out VR-specific tools in Premiere Pro CC.
Adobe: What are the primary ways you’re making content available?
Powell: We’re putting monoscopic 360 video on websites and social channels, such as Facebook and YouTube, or on native apps for headsets like Little Star or VR Video. Going forward, stereoscopic is going to be more and more of a selling point as technology and cameras get better and the file sizes get smaller.
Mahoney: We’re also going to see a lot of overlap of the passive and interactive worlds start emerging as the technology gets better. The line between 360 virtual reality and 360 video that is interactive is getting blurred, and that’s only going to increase.
Adobe: What has the reaction been to the work you’ve done?
Powell: A lot of what we’re doing right now is client education because every time we go to a meeting we have to start by explaining how VR works. We try to go to every meeting with a prototype already built for the client, even if it is something simple, to illustrate the idea. When they get in the headset and we see them smile, we know they’re sold.
Click here to read the full article on Adobe Blogs
After we establish how we want it to flow, we’ll export from Premiere Pro into Adobe After Effects CC. We use the Mettle SkyBox plugin for After Effects to do all of our graphics, motion graphics, visual effects, and animation. Finally, we repackage the project, export it back into Premiere Pro, and export the final. We also use Adobe Photoshop CC and Illustrator CC for graphics work.
Mahoney: We’re working on a prototype of the Baltimore Aquarium right now. What’s really great about the process is we can model things in a 3D game engine like Unreal, kick out video, and then merge not only real-world 360 video but actually 3D game engine created content, using the Adobe apps to add all the bells and whistles on top.
Powell: We can do that with imaging sequencing too. We can spit stereoscopic shots out of the game engines, pull them into Premiere Pro, and then export stereoscopic. Adobe Premiere Pro has a monoscopic export, stereo left to right, and stereo top and bottom. It’s cool to see Adobe putting out VR-specific tools in Premiere Pro CC.
Adobe: What are the primary ways you’re making content available?
Powell: We’re putting monoscopic 360 video on websites and social channels, such as Facebook and YouTube, or on native apps for headsets like Little Star or VR Video. Going forward, stereoscopic is going to be more and more of a selling point as technology and cameras get better and the file sizes get smaller.
Mahoney: We’re also going to see a lot of overlap of the passive and interactive worlds start emerging as the technology gets better. The line between 360 virtual reality and 360 video that is interactive is getting blurred, and that’s only going to increase.
Adobe: What has the reaction been to the work you’ve done?
Powell: A lot of what we’re doing right now is client education because every time we go to a meeting we have to start by explaining how VR works. We try to go to every meeting with a prototype already built for the client, even if it is something simple, to illustrate the idea. When they get in the headset and we see them smile, we know they’re sold.
Click here to read the full article on Adobe Blogs
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