The first thing I did was edit my specific clips movements and green screen them cleanly onto a green background, to then place onto my 360 project on Final cut.
Some clips needed skin faces mapped on, another needed sparkle effects edited onto the triple green-screened clothing and some were just edited to show surreal movements. All these adjustments were done in both final cut and after effects before being keyed into the FCP 360 project, this makes for smoother and more fluid edits and effects as well as easier on the programme as 360 edits are typically slower, taking more power.
When It came to starting the mapping process of the 360 project I kind of just went in blind, as I had only tested the effect the surround video space had on the 2D clips. At first import they distort to a convex shape. To correct this I adjust the lat and longitudes in the 360-transform menu, ad well as 360 distort to correct the perspectives. This took a little while to get right as it so distorted in first import, I would this is arguably the most important thing to get right because it effects how convincingly immersive the work will be.
I did find myself dipping back into both previous editing projects in FCP and Adobe to re edit some of the more animated clips as I cant exactly edit animate these things in the 360 project. This will be something I will to continue doing throughout the editing process, as I haven’t fully conceptualised the sequence and surroundings. I have got specific wants for some of my surroundings and this video below shows the best way I can create the custom environment. However I will most likely use a mixture of artificially created landscapes and collage elements of real places/ 360 video recorded footage. At least to use as a template for my custom surroundings. With extra layers of vivid outsourced video to layer and change the real life environment.
One of the artists introduced to me during one of my early meetings with Richard was Madame Yevonde An early influence in colour photography. I think looking through her work and seeing how she influenced even modern portrait photographers like the famous Petra Collins, now taking the present day place of Yevonde capturing and celebrating the female celebverse. Its actually quite strange how similar these two are in both practice and background. The work it’self reminded me of how beauty lighting can really change a shot, and make something look magical. She photographed celebrities and floriebunda is the biggest celeb in her own world so capturing her was to me a similar ish experience.
A before and after of the edited face.
When I think of what I may want to do with sound on this particular project is a mixture between ambient layers and pop beats. Since its an immersive art and not a game I think plain music would be distracting and not leave enough space in the artwork. I want to include some kind of pop backing, and I think a distant almost faraway pop song (floriebunda’s own) would be a good way of incorporating this. I think almost out of place sound effects for the heeled footsteps, sparkle effect sounds, and some general ambient waves and room noise to fill the environment in whichever state it presents.
Its also important to me that I try and map the sounds to where the movements are as much as possible, however being restricted to only binaural sound with the use of headphones, will make the accuracy more of a presumed guess than anything else. Although this could tell the viewer where it preferred they look at certain times.
Since my last submission to the log I have done a lot on the project, including filming and editing my green screen footage into a VR space.
I started by looking at the world Of VR and how people manage to use editing techniques to create worlds, and not solely relying on code and programming. I looked at artist, Carla Gannis someone I feel relates heavily to my themes and also my techniques, She however is a 3D animator who then puts these works into a VR space as of very recently (in the last few months) which makes me very excited about progressing with like minded artists around me.
The first step after deciding I would edit footage to fit the surroundings, I set up ready to shoot at The Engine Room on the large green screen, lit with as even lighting as possible. The outfits, typically floriebunda. Pink accessorised and vivid. I love plastic looking materials like a metallic fabric. Also added earrings for the closer shots.
The shot list was rough, but I find going into it with an idea and then seeing what movements work during the shoot leaves me with the best results.