The Dos and Don'ts of 360 Experiences

360 has the potential to do nothing short of inventing a whole new universe of marketing. Or at least that is the premise that underpins the many conversations I’ve had both with clients and internally with my colleagues at MediaMonks. The subject is no longer around whether or not 360 can be a great medium (of course doubts remain), but rather: how do we make the best of 360 experiences?

Before starting this discussion, it’s worth breaking 360 down. As confusion remains rife, here’s a few handy definitions. First off, 360 experiences can encompass all forms of 360 video as well as VR. The term ‘web 360’ can be used to describe a film intended for desktop or mobile viewing without the requirement of a headset. These are the 360 films we see on YouTube, Facebook or other bespoke video players. Virtual reality on the other hand, requires a dedicated headsets such as the Oculus Rift, Samsung Gear VR, or Google Cardboard.

The content itself could live in either of these worlds, but remember that each application provides vastly different experiences. Web 360 is delivered in rectangle form and therefore, you’re a third-party observer whereas VR puts you in the middle of the action. Being conscious of this difference from the inception of a project allows you to make the most of both approaches.

As a last side note, I’d like to clarify that 360 can either be seen as live-action or post-produced. Of course, post production is required for both content types, but it’s worth pointing out the distinction.

Phew, let’s crack on.

Dos and Dont’s

So when it comes to 360 experiences, and VR in particular, what are the dos and don’ts? In other words, what will avoid making users puke, and moreover, what will drive an engaging, storytelling experience? Now more than ever it is key to understand the intricacies of telling a 360 story, how to shoot that narrative, what technologies to use, and when, and how to seamlessly (literally) produce the end result.

1. Don’t Interrupt to Interact

While I’m a firm believer in interactive content, 360 should not seek to interrupt a user’s enjoyment. It should encourage users to explore. Because sometimes it’s just about letting users bask in the emotional impact of seeing something in all its glory. However, it’s important to integrate subtle cues for interactive exploration in the 360 content, allowing users to decide how, when or even if to interact.

The best interactive work doesn’t make you feel like you’re taking active choices. Instead, users feel part of a natural path that acts and reacts to their intentions. Something that is experienced, not told; personal not pushed

2. Fix the Camera

Never ever take control of the camera away from the user. Changing the viewpoint without users moving their head is a recipe for instant motion sickness. This is a key difference between shooting 360 and shooting traditional linear storytelling for commercial films. And because of this, we need to think differently about storytelling and the film-making process. For example, with a fixed POV, action needs to be brought to the camera with plenty of incoming warning to the viewer, visual or audible. In many ways, it requires a delicate choreography of movement where the viewer is at the centre.

3. Always Consider Audio

Sound is incredibly important for both immersion and to trigger response. Budget permitting, it’s best to record with ambisonic microphones and then augment this so-called ‘sound field’ into higher order ambisonics in post for better spatial precision. This means there are sonic cues coming from the direction of the action, ensuring viewers pay attention to the things we want them too, and match the ‘360 experience’ we have in everyday life. There’s no open-platform support for ambisonics, although YouTube's working on a solution. So bear in mind that ambisonic sound requires good ol’ fashioned custom players.

If you want to dive deeper into the world of 360 sound and ambisonics, look into this piece on Audio for VR Film. Gives a nod to our Beck: Hello Again campaign, so well worth a read!

4. Think Carefully about Cameras

While not a professional-grade camera, GoPros are more proven than most for shooting 360 and the current champion in terms of the size, costs and performance. They have made the cut for Hollywood blockbusters like The Martian and Point Break, proving that, in the right hands, they can provide rather impressive image quality.

That said, GoPros are not without competition. There’s an array of exotic cameras that pack a punch, with better sensors and a wide selection of professional lenses to choose from. For example, the Blackmagic Micro Cinema and it’s 4K Studio version are not as nimble as the GoPro but still relatively small and better on practically every other parameter.

And of course, if you want to take things up a notch, there’s always RED cameras with their custom-built rigs. However, due to their size, you risk some of the most challenging stitching issues imaginable (but not impossible!).

5. Set Your Timeline in Real Reality

Finally, time to talk logistics. Set your production timelines in reality. Then double it. Then add a buffer week. Now you’re good to go! Due to the extensive stitching work that is required to rid 360 content of distracting glitches and overlaps,  you have to consider that post production will take much longer than with traditional film. And of course, with more production, there’s often more cost, which is another thing you need to account for. However, money doesn’t buy you time, so be generous when planning your next 360 project.

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Hope you enjoyed this cheat sheet, welcome to the future!

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Chris Byrne is a Partnership Monk at MediaMonks. He is responsible for setting up and maintaining prolific production partnerships across the continent. When he isn’t on the digital highway sending email, Chris is on the road presenting to creative agencies in person. Armed with excessive etiquette, Chris is arguably the most British Monk in existence and moonlights as a voiceover actor in various case videos. Before joining MediaMonks, Chris studied International Business in Hong Kong, spearheaded his own startup in London, and starred in Hollywood as a producer of digital marketing content for the likes of Nike, Warner and General Mills.