360° Video Post Production
Post-production in 360° is a different beast to its 16:9 counterpart and we've invested a great deal of time into honing this specialist skill to the highest level. From the initial proxy stitch, through the offline edit, into the fine stitch, compositing, stabilisation, VFX and grade, we make sure that the final product is both perfect to look at but also comfortable for the viewer to experience. With movement, drone shots, POV and narrative storylines more and more commonplace, the language of editing in 360° is currently being developed and written. With our in house facilities, we are one of its chief originators. Check out our 360° video post-production reel.
Media Management - With so much footage created in 360° video production, media management is key. We will always have a DIT on set, but once back in the studio, the material will be organised carefully to prepare for an organised and efficient post-production process
Proxy Stitch - Stitching 360 is the biggest difference between 360 post and traditional 16:9 post. 360 shots need at least 2 different plates (often many more), and these need to be stitched to form an equirectangular asset. Proxy stitch (or rough stitch) is where we quickly stitch together the footage that was shot to create our usable rushes. This can normally happen a matter of days, depending on the volume of shots. Once proxy stitched, the shots will have discrepancies such as stitch lines or lights and crew in shot, but it is these rushes which we will start to work with in our offline edit.
Offline Edit - Video editing is where the story of the 360 content or virtual reality is pieced together. It works in much the same way as it does for traditional content and we mainly use Adobe Premiere Pro. We will normally work on an offline edit, based on the shooting script, which we will then share with the agency, brand or broadcasters. There will normally be 2 rounds of changes, before locking picture and moving onto the fine stitch.
Fine Stitch - Once the offline edit is locked, and we have picture lock, we can start spending time on making the chosen 360 shots look as perfect as they need to look. By now we will be used to looking at the 360 edits of the proxy stitches, and this will often have stitch lines, lights or grip in shot, or indeed crew members in clear view. In the fine stitch, we will remove all of these elements, and deliver shots which are clean and usable. Much of this work will be done in After Effects, Nuke or Mistika, but some more complex shots may need some VFX work.
Colour Grading - Colour grading 360° footage is much the same as grading 16:9 footage and is normally dictated by the choice of 360° camera and the shoot conditions. It does, however, involve a great deal more work, as rather than just grading a frame, we're grading the full 360°. We have in-house Adobe Premiere facilities and partnerships with houses in Soho, Shoreditch and Hackney for full DaVinci Resolve and Baselight suites.
Spatial Sound - Once we have picture lock and a finished image our sound designer can start work on creating the spatial soundscape for the video content. This will involve traditional processes like music selection or composition and foley, but will also involve spatialising the sound for a 360° experience ready for VR headset or online 360°.
Motion Graphics - In some cases, motion graphics will be needed. We work in After Effects, Cinema 4D, Maya and 3D Studio Max and depending on the budget, almost anything is possible.
If you’ve got an interesting 360° video or virtual reality project in mind, we’d love to hear from you.