MotoGP™ has all the time examined the bounds of what audiences can see and listen to on display screen. For its newest challenge, CANAL+ got down to seize not simply the pace but in addition the quieter moments that outline a race weekend. Filmed fully with the brand new Blackmagic URSA Cine Immersive digital camera and completed in DaVinci Resolve Studio, the sports activities documentary is a part of a new technology of immersive workflows for seize, post-production, and viewing on Apple Imaginative and prescient Professional.
Produced in collaboration with MotoGP and Apple, the documentary follows world champion Johann Zarco and his group throughout their dramatic dwelling victory on the French Grand Prix in Le Mans.
It was captured utilizing the URSA Cine Immersive digital camera with twin 8160 x 7200 (58.7 Megapixel) sensors at 90fps, delivering 3D immersive cinema content material to a single file blended 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,” mentioned Etienne Pidoux at CANAL+. “You’re feeling the uncooked pace, and also you see particulars you’d in any other case miss on a flat display screen. It places you nearer to the machines and the group than ever earlier than.”
To put the viewer on the middle 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 thought was to have the ability to swap rapidly between Steadicam and stuck setups relying on what was occurring within the second. The Steadicam setup was extraordinarily worthwhile,” famous Pidoux. “It made us extra reactive in a quick altering setting and gave us extra agility whereas filming.”
“Immersive video modifications the way you shoot,” added Pidoux. “You propose extra, shoot much less, and also you rethink composition due to the 180 diploma view, particularly in tight or crowded areas just like the pit lane.” Lighting was additionally a consideration contained in the group garages. “We added some additional gentle to compensate for the 90 frames per second stereoscopic seize.”
Every 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 combine and channel primarily based for different sources,” Maillat famous. “Every little thing was timecoded wirelessly and synced on each the cameras and the exterior recorders.”
A conveyable manufacturing cart with a Mac Studio operating DaVinci Resolve Studio, alongside an Apple Imaginative and prescient Professional, was arrange trackside to watch and check photographs in context. “This method allowed us to test the content material proper after taking pictures and helped us confirm framing whereas nonetheless on location,” mentioned Maillat.
Canal+ had a second Mac Studio operating DaVinci Resolve Studio and an Apple Imaginative and prescient Professional arrange on the resort in Le Mans to deal with media offload and backups. With 8TB of inner storage, recording on to the Media Module, the crew may movie greater than two hours of 8K stereoscopic 3D immersive footage on the observe without having to alter playing cards.
Postproduction occurred in Paris, the place Canal+ used a Mac Studio operating DaVinci Resolve Studio for enhancing, colour grading, and audio mixing. “We may even preview the stereoscopic timeline immediately in Apple Imaginative and prescient Professional, essential for immersive grading,” defined Maillat.
Spatial Audio was blended utilizing DaVinci Resolve Studio’s Fairlight. “Initially, we deliberate to make use of a totally different digital audio workstation (DAW), however DaVinci Resolve Studio and Fairlight was the platform that gave us each inventive flexibility and the prime quality deliverables for Apple Imaginative and prescient Professional,” defined Maillat.
“Filming with the URSA Cine Immersive digital camera and viewing it in Apple Imaginative and prescient Professional, we discovered unbelievable moments we’d usually deal with as background,” Pidoux concluded. “Cleansing the observe, helmet shut ups, the gang, all of them turn out to be a part of the expertise.”
