![]() ![]() That video is then delivered to YouTube, where it can be viewed in a VR headset, like Google’s smartphone-enabling Cardboard. Using a rig like the GoPro Odyssey, which places 16 HERO4 camera modules pointing out from a perimeter of what looks like a hostess platter or film reel, Jump uploads those 16 channels of 4K video to the cloud, where they are stitched into seamless stereoscopic 360-degree VR video. Google Jump is a new platform combining hardware, cloud-based computing and YouTube. She most recently directed a short film, World Tour, for Google’s new Jump platform, and in the process developed what she is calling Probabilistic Experiential Editing, a concept that points to new ways to imagine montage in the VR age. One filmmaker currently claiming mindshare with regards to VR editing strategies is Jessica Brillhart, who works in-house at Google on the Cardboard team. Or where, inelegantly, an edit is simply a transition from one scene to another, artlessly throwing the viewer across time and space no matter which direction the headset is pointed.įor their pioneers, the good thing about new mediums is that new theories and terminologies are there for the making. What, then, of today’s nascent medium of Virtual Reality (VR)? Some are calling VR the next phase of cinema, but many VR works are more akin to video games, where cuts are hidden within approaching horizon lines. Some Motion templates on this webpage are available from Filmmaking, Issues, Post-Production, Reports, Transmediaįall 2015, Google Jump, Jessica Brillhart, Probabilistic Experiential Editing, VR, World Tourįrom classical Hollywood continuity editing to Eisensteinian montage, from the quick jump cuts of the French New Wave to the even more accelerated and spatially destabilized editing of the Hollywood blockbuster, filmmakers from the dawn of cinema have had to embrace, even if only on a subconscious level, some theory of editing.Performance tests are conducted using specific computer systems and reflect the approximate performance of Mac Studio and iMac. Prerelease Final Cut Pro 10.6.2 tested using a complex 5-minute project with 8K ProRes 422 media. Testing conducted by Apple in February 2022 using preproduction Mac Studio systems with Apple M1 Ultra, 20-core CPU, 64-core GPU, 128GB of RAM, and 8TB SSD, as well as production 3.6GHz 10-core Intel Core i9-based 27-inch iMac systems with Radeon Pro 5700 XT graphics with 16GB of GDDR6, 128GB of RAM, and 8TB SSD.Prerelease Final Cut Pro 10.6.2 tested using a 5-minute project with 4K Apple ProRes 4444 media, at 3840x2160 resolution and 23.98 frames per second, transcoded to Apple ProRes 422. Performance tests are conducted using specific computer systems and reflect the approximate performance of Mac Studio. Prerelease Final Cut Pro 10.6.2 tested using a 1-minute picture-in-picture project with 18 streams of Apple ProRes 422 video at 8192x4320 resolution and 30 frames per second, as well as a 1-minute picture-in-picture project with 56 streams of Apple ProRes 422 video at 3840x2160 resolution and 29.97 frames per second. Testing conducted by Apple in February 2022 using preproduction Mac Studio systems with Apple M1 Ultra, 20-core CPU, 64-core GPU, 128GB of RAM, and 8TB SSD.macOS Ventura or later is required to edit Cinematic mode video captured on devices with iOS 16 or later. macOS Monterey or later is required to edit Cinematic mode video on devices with iOS 15. ![]()
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