MotoGP™ has at all times examined the boundaries of what audiences can see and listen to on display screen. For its newest challenge, CANAL+ got down to seize not simply the velocity but additionally the quieter moments that outline a race weekend. Filmed solely with the brand new Blackmagic URSA Cine Immersive camera and completed in DaVinci Resolve Studio, the sports activities documentary is a part of a new era of immersive workflows for seize, post-production, and viewing on Apple Vision Pro.
Produced in collaboration with MotoGP and Apple, the documentary follows world champion Johann Zarco and his crew throughout their dramatic residence victory on the French Grand Prix in Le Mans.
It was captured utilizing the URSA Cine Immersive camera with twin 8160 x 7200 (58.7 Megapixel) sensors at 90fps, delivering 3D immersive cinema content material to a single file combined with Apple Spatial Audio. The MotoGP sports activities expertise locations viewers within the coronary heart of the motion, from the pit lane and paddock to the podium.
“MotoGP is made for this format,” stated Etienne Pidoux at CANAL+. “You feel the raw speed, and you see details you’d otherwise miss on a flat screen. It puts you closer to the machines and the team than ever before.”
To place the viewer on the heart of the motion, CANAL+ deployed a number of URSA Cine Immersive cameras. “We had two cameras on pedestals and one on a Steadicam,” defined Pierre Maillat of CANAL+. “The idea was to be able to swap quickly between Steadicam and fixed setups depending on what was happening in the moment. The Steadicam setup was extremely valuable,” famous Pidoux. “It made us more reactive in a fast changing environment and gave us more agility while filming.”
“Immersive video changes how you shoot,” added Pidoux. “You plan more, shoot less, and you rethink composition because of the 180 degree view, especially in tight or crowded spaces like the pit lane.” Lighting was additionally a consideration contained in the crew garages. “We added some extra light to compensate for the 90 frames per second stereoscopic capture.”
Each digital camera was paired with an ambisonic microphone to seize first order spatial audio, the ambisonic mics had been supplemented by discrete microphones for interviews and different essential sound sources. “We recorded in ambisonics Format A for the immersive mix and channel based for other sources,” Maillat famous. “Everything was timecoded wirelessly and synced on both the cameras and the external recorders.”
A conveyable manufacturing cart with a Mac Studio working DaVinci Resolve Studio, alongside an Apple Vision Pro, was arrange trackside to watch and check pictures in context. “This approach allowed us to check the content right after shooting and helped us verify framing while still on location,” stated Maillat.
Canal+ had a second Mac Studio working DaVinci Resolve Studio and an Apple Vision Pro arrange on the lodge in Le Mans to deal with media offload and backups. With 8TB of inside storage, recording on to the Media Module, the crew might movie greater than two hours of 8K stereoscopic 3D immersive footage on the monitor without having to vary playing cards.
Postproduction came about in Paris, the place Canal+ used a Mac Studio working DaVinci Resolve Studio for modifying, colour grading, and audio mixing. “We could even preview the stereoscopic timeline directly in Apple Vision Pro, crucial for immersive grading,” defined Maillat.
Spatial Audio was combined utilizing DaVinci Resolve Studio’s Fairlight. “Initially, we planned to use a different digital audio workstation (DAW), but DaVinci Resolve Studio and Fairlight was the platform that gave us both creative flexibility and the high quality deliverables for Apple Vision Pro,” defined Maillat.
“Filming with the URSA Cine Immersive camera and viewing it in Apple Vision Pro, we found incredible moments we’d normally treat as background,” Pidoux concluded. “Cleaning the track, helmet close ups, the crowd, they all become part of the experience.”
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