Published On: April 25th, 2024data-orig-src=https://www.sgo.es/wp-content/uploads/Dolce-Mia-Header-image.png width=1040 height=533 class=lazyload wp-image-0 />
Dive into the innovative creation process behind Dolce Mia , a groundbreaking VR 180 film, set in the charming streets of Florence. Discover how the creatives utilized Mistika VR and seamlessly integrated A.I. to craft this immersive experience.
Produced by The Metaverse Stage and exclusively designed to be displayed on distribution platforms such as Meta Quest TV, YouTube VR, and Apple Vision Pro, the brand-new VR 180 Film Dolce Mia tells the story of a young woman named Mia' who visits the lovely city of Florence in Italy, to resolve a mystery of her family heritage.
Director and Screenwriter Keeley Turner and DOP and Post Supervisor Hugh Hou created this immersive film by harnessing the power of Mistika VR's exceptional capabilities and taking full advantage of AI.
The Art of VR 180 Keeley's distinguished signature as a writer is sharing her thoughts and passion for art history when writing a script. When filming Dolce Mia in the streets of Florence, she relied on VR 180 to introduce her favorite Renaissance art paintings and historical structures such as The Ponte Vecchio and Fountain of Neptune in some scenes.
According to Keeley, VR 180 was preferable for walking scenes or when the lead character, Mia, addressed the audience directly.
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Keeley explains, VR 180 allowed us to capture walking scenes more effectively compared to 360 . We could use a handheld gimbal to ensure smooth footage regardless of camera movement. Additionally, in scenes where Mia discusses art, such as Sandro Botticelli's Primavera' or The Birth of Venus,' I believe that 180 offers a closer connection to the artwork and the characters, enhancing viewer immersion in the story.
Mistika VR is the key in all steps of post-production The team managed a very tight schedule to capture all the scenes as they only had one day in Florence to film Dolce Mia ; for this reason, most scenes were adjusted later in post-production. We utilized Canon EOS VR Utility and Mistika VR to fine-tune the stitching. The autocalibrate feature of Mistika VR was a real lifesaver since the camera was constantly moving and the weather was not in our favor. We ended up using this feature in plenty of takes to fix all 3D disparity problems, commented Hugh Hou.
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Mistika VR's stabilization was our primary feature for the most demanding footage, added Hugh. We applied the stabilization feature on some challenging shots and used the keyframe animation to realign the center to achieve flawless results. We received guidance and support from Roman Dudek, Engineering and Product Manager at SGO. We are very happy with the result.
Another challenge the team faced during the post-production was converting the traditional VR 180 into spatial video format for Apple Vision Pro.
We faced the difficult task of finding an effective way to adapt Dolce Mia for spatial video. Luckily, Mistika VR helped us during this process. The software has a built-in projection feature that accurately converts fisheye media to 3D planar making a technically perfect conversion without too much manual work. Credit to SGO's Creative Solutions Architect, Adri n Gonz lez, who helped us along the way to figure out all the settings and projection calculations, highlighted Hugh.
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Integrating NeRFs AI Technology into VR 180 With the idea of creating a dreamy sequence for the lead character, Keeley and Hugh explored the idea of introducing a new and emerging technology called NeRFs or Neuronal Radiance Fields to the project. This is the first time that this AI-based image-generating process has been fully integrated into VR 180 .
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