American Cinematographer - October 2016 - 59

Bucaria and Smithingham prep a scene on location in Haiti.

monopod." Healer adds, "The code I
wrote to transmit Theta S on a RaspPi
is posted on GitHub at github.com/
themolecule/thetaServer. It was a very
useful production tool."
"A key aspect of VR production is
making sure your camera department is
very aware of how these cameras are
designed," Smithingham continues.
"You have to know how your camera
functions or you can totally destroy a
shot. [The cameras] have blind spots
due to how the different angles are all
stitched into a single sphere, so if you
place an actor in the wrong place relative
to the camera, you can lose the whole
shot. You have to be very cognizant of
how these cameras will function in postproduction, or else you end up with an
insane magnitude of rotoscoping costs.
You can just imagine the absurdity of
rotoscoping an 8-by-8K, 60-fps moving
shot."
Both the Jaunt One and the
GoPro array recorded to individual SD
cards - one each per camera module.
For the Jaunt One, the SD data is
imported using the Jaunt Media
Manager and uploaded to the private
Jaunt Cloud Rendering system, which
uses proprietary light-field based stitching algorithms to create a seamless
360x180-degree stereoscopic work
product that can be downloaded from

the cloud in a variety of formats. The
GoPro systems, on the other hand, do
not have an importer. The a7S II
recorded to internal SD cards at 4K in
XAVC S format.
The abundance of digital information made data management another
logistical challenge. "At one point, for a
multi-cam stunt shot, we had 96 sensors
total, which is insane," Smithingham
says with a laugh. "Our heaviest day
included a stunt in which we destroyed
a location. Rolling simultaneously were
two Jaunts, with a total of 48 SD cards;
two three-camera GoPro rigs; an a7S II;
and two 1.07mm single-camera GoPro
rigs - for a total of 63 SD cards. I was
actually the DIT on that day, and
towards the end we were running with a
tiny crew - less people to hide. But we
also shot some days where we had two
units running, which would have added
12 more GoPros to that number. Our
DIT Joe Belack had 96 SD cards
- both MicroSD and standard SDHC
- to import. We were shooting at 60
fps, and the data rate came out to about
60GB a minute, so we ended up somewhere in the range of 64TB of raw
footage by the end of the production for
a 30-minute show."
Engstrom tackled many of the
duties a gaffer would traditionally
handle, and hiding lights and cables was
59



http://www.github.com/themolecule/thetaServer http://www.github.com/themolecule/thetaServer http://fjwestcott.com

Table of Contents for the Digital Edition of American Cinematographer - October 2016

Contents
American Cinematographer - October 2016 - Intro
American Cinematographer - October 2016 - Cover1
American Cinematographer - October 2016 - Cover2
American Cinematographer - October 2016 - 1
American Cinematographer - October 2016 - 2
American Cinematographer - October 2016 - Contents
American Cinematographer - October 2016 - 4
American Cinematographer - October 2016 - 5
American Cinematographer - October 2016 - 6
American Cinematographer - October 2016 - 7
American Cinematographer - October 2016 - 8
American Cinematographer - October 2016 - 9
American Cinematographer - October 2016 - 10
American Cinematographer - October 2016 - 11
American Cinematographer - October 2016 - 12
American Cinematographer - October 2016 - 13
American Cinematographer - October 2016 - 14
American Cinematographer - October 2016 - 15
American Cinematographer - October 2016 - 16
American Cinematographer - October 2016 - 17
American Cinematographer - October 2016 - 18
American Cinematographer - October 2016 - 19
American Cinematographer - October 2016 - 20
American Cinematographer - October 2016 - 21
American Cinematographer - October 2016 - 22
American Cinematographer - October 2016 - 23
American Cinematographer - October 2016 - 24
American Cinematographer - October 2016 - 25
American Cinematographer - October 2016 - 26
American Cinematographer - October 2016 - 27
American Cinematographer - October 2016 - 28
American Cinematographer - October 2016 - 29
American Cinematographer - October 2016 - 30
American Cinematographer - October 2016 - 31
American Cinematographer - October 2016 - 32
American Cinematographer - October 2016 - 33
American Cinematographer - October 2016 - 34
American Cinematographer - October 2016 - 35
American Cinematographer - October 2016 - 36
American Cinematographer - October 2016 - 37
American Cinematographer - October 2016 - 38
American Cinematographer - October 2016 - 39
American Cinematographer - October 2016 - 40
American Cinematographer - October 2016 - 41
American Cinematographer - October 2016 - 42
American Cinematographer - October 2016 - 43
American Cinematographer - October 2016 - 44
American Cinematographer - October 2016 - 45
American Cinematographer - October 2016 - 46
American Cinematographer - October 2016 - 47
American Cinematographer - October 2016 - 48
American Cinematographer - October 2016 - 49
American Cinematographer - October 2016 - 50
American Cinematographer - October 2016 - 51
American Cinematographer - October 2016 - 52
American Cinematographer - October 2016 - 53
American Cinematographer - October 2016 - 54
American Cinematographer - October 2016 - 55
American Cinematographer - October 2016 - 56
American Cinematographer - October 2016 - 57
American Cinematographer - October 2016 - 58
American Cinematographer - October 2016 - 59
American Cinematographer - October 2016 - 60
American Cinematographer - October 2016 - 61
American Cinematographer - October 2016 - 62
American Cinematographer - October 2016 - 63
American Cinematographer - October 2016 - 64
American Cinematographer - October 2016 - 65
American Cinematographer - October 2016 - 66
American Cinematographer - October 2016 - 67
American Cinematographer - October 2016 - 68
American Cinematographer - October 2016 - 69
American Cinematographer - October 2016 - 70
American Cinematographer - October 2016 - 71
American Cinematographer - October 2016 - 72
American Cinematographer - October 2016 - 73
American Cinematographer - October 2016 - 74
American Cinematographer - October 2016 - 75
American Cinematographer - October 2016 - 76
American Cinematographer - October 2016 - 77
American Cinematographer - October 2016 - 78
American Cinematographer - October 2016 - 79
American Cinematographer - October 2016 - 80
American Cinematographer - October 2016 - 81
American Cinematographer - October 2016 - 82
American Cinematographer - October 2016 - 83
American Cinematographer - October 2016 - 84
American Cinematographer - October 2016 - 85
American Cinematographer - October 2016 - 86
American Cinematographer - October 2016 - 87
American Cinematographer - October 2016 - 88
American Cinematographer - October 2016 - Cover3
American Cinematographer - October 2016 - Cover4
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