It’s the only place you’re not allowed to go and what is said in the changing room at half time is not for the ears of the outside world, but Nike’s latest immersive 360 VR spot puts fans in the midst of the Turkish football team’s half time speech.
We caught up with Creative Director Adam Grint to find out a little bit more about shooting in 360 as well as some of the more technical, behind the scenes aspects involved in the project.
Why do you think this project was so right for filming in 360?
The action in the scene and the geography of the space both pointed towards this being ripe for a 360 experience. It’s a contained space - the U-shape layout of the locker room seating naturally lends itself to 360. We always wanted the experience to feel intimate - to place the fan somewhere they would not normally have access to and for the viewer to feel part of that team. There’s simply no better way of achieving this than with this method.
What this experience does is place you in the scene, as if you were really there, and allows you to make your own mind up; to react to the intimacy of that moment in your own way, rather than a piece of editorial that has it’s own agenda which you consume.
It’s allowing you into the inner circle - the half time huddle is of course something that takes place behind closed doors, away from the prying eyes of the outside world. You not only bear witness to it, but very much feel part of that exclusive moment, as an equal to the other players in the room.
Tell us a bit about the more technical aspects involved in the project?
We mapped out the whole set in 3D and did some scale mock-ups and simple previz frames, which gave the director and agency some idea of framing and movement within the scene. We also worked within the limitations of the camera rig, imposing some restrictions on where the players were allowed to walk or stand so as not to cause too many stitching headaches down the line. But we were also conscious to give as much freedom to the players as possible so as not to adversely affect performance.
On set we were able to provide a live feed of various viewing angles to Bob Harlow (the Director from Somesuch) - we used witness cameras to capture a top 3/4 view of the scene, plus we had the 360 scene navigable on an ipad so the director was able to test the scene in 360 live on set.
Until we nail live action capture by a single camera we will be stuck with stitching multiple cameras together to create our 360 sphere. And with that introduces a raft of technical hurdles, which in turn impose creative limitations. Our job is to create brilliant work within those constraints but once the shackles are off we will be technically, and consequently creatively, liberated.
We have a potent tool at our disposal; one that can stimulate the brain to react to the idea you’re trying to encapsulate more powerfully than any other medium. The footprints have not yet been laid in the sand. The opportunity to create truly original work really is there, and if that doesn’t get a creative excited, I’m not sure what will!