ozo post workflow documentation

OZO POST WORKFLOW DOCUMENTATION
Updated 7-01-2016 - references Creator v1.2.1
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CameraOverview.......................................................................................................................................3
PostWorkflowOverview............................................................................................................................3
ImportingCapturesUsingCreator...............................................................................................................4
ViewingandAdjustingMetadata................................................................................................................6
ImportingMultipleKindsofAssets.............................................................................................................7
ExportEditorialPreviews(360Editorial).....................................................................................................8
TheJobQueue..........................................................................................................................................10
ExportAudioFiles.....................................................................................................................................11
MarkingIn/OutPointsinCaptures...........................................................................................................12
ExportPer-cameraImageFilesfromEditorialSelects................................................................................12
Exportedmetadatainformation................................................................................................................................14
ColorMatchandDe-noisePer-cameraFiles..............................................................................................14
StitchingFootage......................................................................................................................................15
Stitchingcolormatchedandde-noisedper-camerafiles...........................................................................................15
StitchingfromDPXorEXRUsingOZOCreator...........................................................................................15
Selectingfilesforstitching.........................................................................................................................................15
Stitchingdirectlyfromrawcaptures..........................................................................................................................16
Settingseampositions...............................................................................................................................................16
Settingbackseamconvergence.................................................................................................................................18
TheStitchingAssetswindow......................................................................................................................................19
AdvancedSettings......................................................................................................................................................21
BestpracticesandadditionalnotesforstitchingusingOZOCreator........................................................................21
StitchingDPXfilesusingDeluxe.................................................................................................................................22
StitchingHighBitrateMP4susingJAUNTCloud........................................................................................................22
StitchingDPXfileswith3rd-partysoftware...............................................................................................................22
VFX...........................................................................................................................................................23
Metadataparameterdefinitions................................................................................................................................23
FinalColor................................................................................................................................................24
TitlesandCredits......................................................................................................................................24
EditorialDecision-makingUsingCreator...................................................................................................24
Selecting“hero”takes................................................................................................................................................25
BasiceditingusingCompositions...............................................................................................................................25
ExportingCompositions............................................................................................................................26
RenderingforPlayback.............................................................................................................................26
RenderingtostitchedMP4........................................................................................................................................27
RenderingtoOZOPRW...............................................................................................................................................29
EncodingforYouTube...............................................................................................................................30
ViewingStitchedMP4sUsingaGearVRSystem.......................................................................................30
ViewingOZOPRWFilesUsingOZOPreview...............................................................................................31
SoundMixing...........................................................................................................................................32
ReviewingyourmixusinganHMD.............................................................................................................................33
OZOCreatorCommandLineBeta.............................................................................................................34
Commandlineoptions...............................................................................................................................................35
Scriptedcommandlineusageexamples....................................................................................................................36
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Camera Overview
The OZO camera is a 3D, 360-degree virtual reality camera that consists of eight 2048 x 2048 (2K x 2K)
sensors, with approximate sensitivity of ISO 400. Each sensor is paired with a wide-angle 195-degree FOV lens,
and captures images that overlap adjacent sensors to provide natural stereoscopic views. Cam1 (Side L), Cam2
(Front L), Cam3 (Front R), and Cam4 (Side R) represent the four camera views around the “equator” of the OZO.
Cam 5 (Top L), Cam 6 (Top R), Cam 7 (Bottom L) and Cam 8 (Bottom R) complete the 8 OZO camera viewpoints.
By design, the camera captures stereoscopic 3D imagery through approximately 260 degrees (+/- 130 degrees
from center) oriented to the camera front and sides, with the balance of the 360-degree field of view captured
with monoscopic (2D) imagery.
There are additionally eight microphones spaced around the camera body for recording spatial audio, which can
be exported as a 4.0, 5.0, 7.0, or 8.0 channel 48kHz 24-bit PCM WAV file.
The camera records both picture and sound either to its own internal 500GB Digital Cartridge, or to an external
Blackmagic HyperDeck Studio Pro 2 or Blackmagic HyperDeck Shuttle recorder via a 1.5Gbps HD-SDI cable.
The camera compresses the eight 2K x 2K pixel images captured by the sensors into a single compressed data
stream that emulates a 10-bit 1920 x 1080 full HD resolution video frame.
Sound captured by the
microphones is recorded as 8 discreet PCM channels, synced with the video. To post produce the sound and
images from these raw camera recordings, you must first export to an appropriate media and industry file
formats using OZO Creator software.
Note: OZO Creator requires a late-2013 model Apple Mac Pro® 6-Core CPU, and either Dual AMD D500 or Dual
D700 FirePro GPUs, running OS X 10.10 Yosemite. Dual D700s are recommended for best performance.
Post Workflow Overview
Post production with OZO is conceptually similar to a standard post production workflow. Just like with a typical
production, you’ll need to do editing, color correction, VFX, titles, sound mixing, transcoding to deliverable
formats, etc.
The main difference is that instead of starting with a single stream of images from your capture, or two streams
of stereoscopic footage (on a 3D project), you will start with a single capture that, when exported at “master”
quality, will become eight individual streams of images. Then a “stitching” process must be applied to create
either a Left/Right eye stereoscopic output, or optionally a monoscopic output.
This document will help clarify where the stitching process best fits into the process, and step through a typical
professional post workflow with OZO footage, concentrating on the usage of OZO Creator.
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A high-level overview of production with the OZO camera
Importing Captures Using Creator
The first step after capturing imagery is to follow best practices and make backup copies of the captures.
After backups have been made, start Nokia’s OZO Creator software, and import captures into the program by
either dragging and dropping them onto the Stage pane of Creator, or by clicking the “+” button in the Stage
pane or navigating to Stage in the main menu, and then selecting Import Capture. Then select the capture(s)
you want to import.
OZO Creator can be freely downloaded from Nokia’s website:
https://ozo.nokia.com/ozo_en/nokia-ozo-applications/
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Close up of the “Stage” pane located at the upper-left of the Creator UI
At this point, you can play back full raw captures using the transport controls. You will know when you have an
individual capture selected in the Stage when a capture is highlighted and UI elements in the interface are blue.
Stage focus Creator UI
If the UI elements in the interface are green, then the Composition is active, and the transport controls play
back any content that is loaded on the timeline.
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Composition focus Creator UI
You will need to drag-and-drop material from the Stage to the Composition timeline (or control + click on an
asset and select Add to Composition) to be able to edit and play back edited footage when in Composition
focus mode.
Viewing and Adjusting Metadata
Double-clicking on a capture in the Stage will open up the metadata tab. Here you can see a number of
different bits of information about the selected capture:
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Camera ID
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Date of capture
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Time of capture
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Duration of capture
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File size
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Exposure setting
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Illuminant setting
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The metadata tab of a raw capture.
You can also override the Illuminant setting of the capture by clicking the Override Illuminant box.
If you feel the audio volume is too low, you can also adjust the Gain by up to +20dB. Please note that the Gain
setting will also affect the volume of any Processed Audio exported from these captures.
Importing Multiple Kinds of Assets
OZO Creator allows for the import of several kinds of raw and processed assets.
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Captures are either .ozoraw files recorded onboard the OZO, or .mov files recorded using a Blackmagic
Hyperdeck Studio Pro 2 or Blackmagic Shuttle
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DPX are the per-camera DPX files exported from OZO Creator. These can additionally be de-noised or
color-matched prior to importing back into OZO Creator
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EXR are the per-camera OpenEXR files exported from OZO Creator. These can additionally be denoised or color-matched prior to importing back into OZO Creator
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Stitched files are Left and/or Right eye DPX files that have been stitched into
spherical/latlong/equirectangular format panoramas from the per-camera DPX files.
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Audio files are multi-channel interleaved PCM WAV files either exported directly from OZO Creator, or
multi-channel mixes exported from sound mixing programs such as Pro Tools or Steinberg Nuendo.
Please note that these WAV files must conform to a particular channel order specification for proper
spatial audio reproduction (discussed in the Sound Mixing portion of this document).
When you import more than one type of asset in a project, you will see a list of abbreviations displayed at the
top of the Stage that correspond to those assets. Just click on an abbreviation to access the list of
corresponding assets currently imported into the project.
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The Stage with imported Captures (CAP), DPX files (DPX), EXR files (EXR), Stitched files (STI), and WAV files (WAV).
Export Editorial Previews (360 Editorial)
If you wish to use an external NLE system for editing, such as Final Cut Pro, Avid, or Adobe Premiere Pro, the
first step is to export 360 Editorial files from OZO Creator.
The 360 Editorial is an h.264 encoded MOV file created by taking the side left (cam1) and side right (cam4)
images, applying a fisheye-to-spherical/latlong transformation on them, and then simply placing them side-byside in a single frame.
As these are compressed files, the data size can vary considerably, depending on the content. The data
footprint typically lands in the 15 to 40 MB per minute range.
Due to the physical separation of these two cameras on the OZO, you can expect to see a visible seam in the
very center of the frame. This is normal, as this image is not truly “stitched.”
An example of a 360 Editorial with burned-in 5 channel loudspeaker angles and timecode
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A SMPTE timecode track is encoded into the 360 Editorial. The timecode can optionally be burned into the
picture at the upper-center of the image by enabling the Show timestamp option.
Additionally, an overlay for the intended audio mix (4.0, 5.0, 7.0, 8.0) can be optionally burned in using the Show
speaker layout option. This way, the sound mixer has a visual reference for producing a 360-degree positional
audio mix from watching 2D playback.
The 360 Editorial is exported with a 2-track stereo mixdown of the recorded audio to use as a sync reference.
To export a 360 Editorial from a full capture, control + click on a capture in the stage or navigate to Create in
the main menu, and then choose Export from the menu. Or simply click the Export button in the UI. This will
open the Export Asset window.
Exporting a 360 Editorial in the Export Asset window
By default, the in and out point selection is set to the length of the full asset. But if you have changed the
positioning of the in and out points, you can also change the Range value to All to export the full length of the
asset.
It is highly recommended that you export the full length of the assets to 360 Editorials to first do your offline
edit. Then use those offline edit decisions to determine the takes and selects that you want to use for your
online edit. If you trim the 360 Editorials before exporting, it will be difficult to accurately reference your edits
back to the original, un-trimmed raw captures.
You have a few options for naming the exported asset under the File Naming menu.
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Use asset name will use the exact name of the raw capture + “editorial.mov” (e.g.
“Capture0001_editorial.mov”)
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Use camera ID and time of capture will use the name of the camera that captured the footage, along
with the date and time that the capture was initiated (e.g. “PC01001071_20160221_151007”).
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Custom allows the user to specify the exact name that they want for the file. If you batch export from
multiple captures, the software will auto-increment a number onto the end of the filename prefix to
avoid overwriting files. (e.g. “360Editorial-1.mov,” “360Editorial-2.mov,” etc.)
Then choose 360 Editorial under the Format drop-down, Browse to a location to choose the Destination
folder to which files will be exported, and select your speaker layout and timestamp options. Finally, click
Queue. The export task is now added to the Job Queue.
The Job Queue
The Job Queue provides a way to queue up a list of tasks, and then execute those tasks in one single rendering
pass. This is optimally used to set up a queue of stitches, exports, and renders during the day, and then
execute those renders overnight, which can be valuable from a workflow efficiency perspective.
Any renders, exports, or stitches that you set up will only be queued. So these jobs will not begin to process
until you start the Job Queue. To initiate the execution of the queue, you will need to click on the Job Queue
button at the lower left of the application.
The Job Queue button located in the lower left of the UI
Pressing this button will bring up the Job Queue window. You can then Start the queue, or click the “X” button
that appears to the right of individual jobs when you mouse over them to remove those jobs from the queue.
If your queue extends beyond the bottom of the window, you can also scroll up and down the queue by clicking
and dragging anywhere within the center of the window.
Prior to starting the queue, the Close button will simply close the window. After the queue has been started,
the Close button will turn into a Cancel button and if pressed will prompt you to ask if you’d like to cancel the
entire queue.
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Three different jobs queued in the Job Queue window
Please note that the Job Queue is not currently saved in any fashion. So if you close OZO Creator, or Cancel
out of a running queue, you will lose any jobs residing in the queue.
Export Audio Files
You may want to export multi-channel audio concurrently when exporting the 360 Editorials. These files can be
synced on a timeline in an editing program to the 360 Editorial MOV files, or muxed to the MOV files using a
program such as ffmpeg.
Select Processed Audio in the Format window of the Export Asset window, and then choose the Range, the
File Naming option you want, the Destination, and the Selected Speaker Layout. The typical speaker layout
selections are 5.0 or 7.0.
Exporting a 5 channel 48KHz 24 bit PCM WAV File from a raw capture in the Stage
As long as the audio is exported with the same In and Out point selection Range as the 360 Editorial, the
exported audio will be in perfect sync with the 360 Editorial file.
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The file size for audio will depend on the number of channels you output:
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4 channels - 23 MB/minute
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5 channels - 28.8 MB/minute
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7 channels - 40.3 MB/minute
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8 channels - 46.1 MB/minute
Despite the coincidence that the OZO has eight microphones, and that Creator provides an option to export an
eight channel audio file, please note that there is actually no direct 1:1 mapping of microphone signals to
exported audio tracks with this selection.
OZO Creator applies a conversion from mic signals to standard WAV audio when exporting. And as part of this
process there is a loss of elevation (i.e. the height, or “Z” component) in the exported audio. So exporting
Processed Audio is essentially a conversion from a "sphere" of captured mic signals to a "ring" of loudspeaker
format audio.
Marking In/Out Points in Captures
If you want to export, render, or stitch only a section of a capture, you can do this two ways.
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Select an asset in the Stage. Set the selection in and out points by using the mouse to position the
playback cursor and click Mark In, and then reposition the cursor and click Mark Out. This is the most
informative way to create a selection, as you can see the timecode value update when you reposition
the cursor to mark the in and out points.
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Select an asset in the Stage. Adjust the triangular selection handles that hang just below the timeline
to the desired in and out points.
Then you can select the task of your choice (Export, Stitch, or Render), ensure that Range is set to Selection
(In-Out), set the rest of the fields accordingly, and finally Queue the task.
Export Per-camera Image Files from Editorial
Selects
Once you have gone through the offline editorial process using the 360 Editorial proxy files, you will want to
export the full resolution per-camera files to begin your online conform and finishing process.
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An example of an exported DPX frame. The angled horizon is normal.
Referencing the burned-in timecode in the 360 Editorial or the information in an EDL generated by an NLE,
manually trim the asset of the corresponding raw capture to match.
Note that OZO Creator does not support the input of EDL files for automated batch trimming and exporting.
You will need to manually reference the timecodes listed in an EDL file to trim the captures.
Once the asset has been trimmed on the timeline, open the Export Asset window and select either DPX,
OpenEXR, Cinema DNG, or High Bitrate MP4s from the Format drop-down menu. Please note that these
exports will output an image sequence or compressed file for each of the eight cameras on the OZO.
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DPX files are 10-bit rec709 colorspace files. These are 16.8 MB per frame, or about 234GB/minute.
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OpenEXR files are 16-bit floating point rec709 colorspace files. The main advantage over DPX is that
these are losslessly compressed, which saves drive space. There is no dynamic range or image quality
advantage over DPX. However, they do take longer to export due to the processing time associated
with compressing them. The size varies due to the content, but they tend to be around 9 – 14 MB per
frame, or 126 – 197GB/minute.
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CinemaDNG files are raw sensor data files. These will need to be opened and converted in a program
such as Adobe Premiere Pro or DaVinci Resolve to de-mosaic/de-Bayer the raw sensor data and apply a
color space conversion. So DNG files add some complication to the workflow as compared to DPX or
OpenEXR. However, the main advantages of CinemaDNG over those two formats are that these files
tend to be smaller, and they provide considerably more control over quality and color to the user. The
size is approximately 8.4MB/frame, or 118 GB/minute.
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High Bitrate MP4s are YUV 4:2:0 rec709 colorspace h.264-encoded MP4 files. These would be your
choice if you intend to stitch using the Jaunt cloud. As these are compressed files, the bitrate and size
can vary considerably, depending on the detail captured by the sensor. Typical values range from
70Mbps – 180Mbps per MP4 file, or approximately 3.6 – 10.3GB/minute.
Once you have chosen your output image format, select a Destination, and then name the folder into which the
exported files will be written. Each format exports to a slightly different folder structure, but the frames
ultimately end up written to their respective camera’s directories, e.g. “/cam1/0000000.dpx”,
“/cam2/0000000.dpx”, etc.
Exported metadata information
Additionally, OZO Creator will make another folder, labeled with the term “metadata” in some fashion, which is
located inside your named export folder. There will be two files inside of this folder.
The first file is a “.metadata” file that Creator and other Nokia software will use to properly de-warp the fisheye
lens distortion of the exported image files. This is a binary file and can only be read by Nokia software.
The second file is a human-readable “.txt“ file that contains a number of parameters that can be used in
compositing software, such as Nuke, to de-warp the individual fisheyes yourself. These metadata parameters
are explained in the VFX section of this documentation.
Color Match and De-noise Per-camera Files
Once you have exported the per-camera files of your select takes, you may want to color match the camera
outputs to one another to ensure the most seamless stitched presentation.
It has so far proven best to select the camera output with the best color and contrast as the “hero” camera,
and do a “best light” or “pre-grade” color correction on that output using mostly basic color correction tools.
Then proceed to match the other camera outputs to your color corrected “hero” camera.
The idea is not to do a “creative” color correction here because there are a number of time-consuming steps
that follow, including stitching, and any significant change to the color downstream may require backing up and
re-doing several steps. So it is recommended that a very basic color correction be applied at this point to give
you the most flexibility for setting the final “look” after stitching and VFX have been completed.
You may also want to apply a de-noising process on the individual DPX files after color matching, as long as the
de-noising process does not significantly soften the image. This will help reduce the visibility of noise and
compression artifacts in the footage, and likely improve the results of the stitching process.
If you need a starting point for a de-noising solution, many of our customers and partners have suggested that
they get good results using the Neat Video noise reducing plugin.
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Another reason that it is best to apply de-noising prior to stitching is because the stitching process will convert
to spherical (also called “latlong” or “equirectangular”) imagery. This results in the visible stretching and
warping of the image towards the “poles” of the sphere (i.e. the top and bottom of the imagery), which has the
effect of stretching out and warping the noise as well. So it will likely be more difficult to remove the noise after
stitching, rather than beforehand.
Stitching Footage
Stitching is the process by which a single panoramic image is created by combining imagery from multiple
camera angles. The desired result is to create a visually seamless transition from one camera’s perspective to
another, so that the appearance is that of one contiguous image.
Stitching color matched and de-noised per-camera files
After any optional color matching and de-noising has been applied to the per-camera files, the files proceed to
the stitching process in order to create single left eye and right eye spherical/latlong/equirectangular images
for use in viewing stereoscopic 3D imagery using a head mounted display (HMD), such as a Samsung Gear VR,
Oculus Rift, or HTC Vive.
Expect that any stitching process will create some visible artifacts in the interpolated (“seam”) areas that will
require manual intervention to fix. These artifacts tend to be the most visible on objects that are closest to the
camera, as this is the point at which the parallax difference between camera angles is the greatest. Largeparallax imagery provides the greatest challenge for any stitching process.
Stitching from DPX or EXR Using OZO Creator
OZO Creator uses computational stitching to create panoramic frames from per-camera fisheye images.
Selecting files for stitching
To stitch panorama frames from the per-camera fisheye images, the per-camera images must first be imported
into OZO Creator. Either navigate to Stage in the main menu, or click the “+” in the Stage pane. Then select
either Import DPX or Import EXR (depending on the file format of your per-camera fisheyes).
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The DPX folder (or EXR folder) field should be set to point into a folder that contains per-camera DPX
or OpenEXR frames.
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The Metadata file field should be set to point into a folder that contains the metadata for the specific
DPX or EXR frames that are being used as the source (the metadata path is auto-populated when
selecting DPX / EXR files and metadata that conform to the default path and filename output from
Creator).
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Then click Import to add these assets to the Stage.
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To stitch these imported DPX or EXR frames, click on the asset in the Stage. Note that if you have more than
one kind of asset imported into your project, you may need to select the appropriate file format at the top of
the Stage pane first (i.e. “DPX” or “EXR”) to access the proper list of assets, and then select the specific asset
you want to stitch.
Stitching directly from raw captures
If you do not feel you need to de-noise and color-match your footage, you can stitch directly from your raw
captures. Simply ensure a raw capture is selected in the Stage and then proceed with the following steps.
Setting seam positions
Once the correct asset is selected, enable Spherical view by clicking the “square” icon in the image viewing
pane, pressing “V,” or by navigating to View>Spherical View from the main menu. This view will provide a
latlong/spherical/equirectangular panorama view using a fast stitch process.
Once in Spherical view, enable the seam overlay by pressing the Seams icon in the image viewing pane. This will
highlight the seam areas with a magenta color. You can then spot check the footage (the speed of your drives
will likely not allow for full speed playback, especially if stitching from DPX or EXR files) and note if there is close
proximity detail or movement within seam areas.
Vertical stitching seam area locations and sizes are to some extent adjustable. As the content in seam areas is
interpolated, its quality may not be as good as the image quality in non-interpolated areas. Thus it may
sometimes be useful to move or resize seam areas to be located in areas where there potentially less important
content.
To widen or narrow a seam, click and drag on the edges of the seam. To move the seam, click and drag in the
center of the seam. Please be aware that there are limitations on the extent the seams can be repositioned.
The seams must be contained in an area of the 360-degree panorama where two adjacent cameras’ field of
view overlap. The application will not allow you to position seams outside of these areas.
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The default placement of the third seam may lead to stitching artifacts on this particular footage. Please note that the visualization here is not
necessarily an accurate rendition of any artifacts that may be generated.
Note how the third seam has been moved to the left and narrowed slightly so that the character is no longer within the seam area. This will likely
result in a stitch with fewer visible artifacts.
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The adjustments you make to the seam positions will update the Seam Locations parameters in the Stitch
Asset interface and be saved on a per-asset basis when you save the project. So any adjustments you make to
the locations of the seams here will affect how each of your shots are stitched.
Setting back seam convergence
By default, the back seam is rendered with the convergence set to approximately “infinity.” This means that
distant detail appears correct, and lines up nicely at the point where the left and right edges of the image
connect when the image is mapped to a sphere for 360-degree viewing. However, this has the result of taking
a vertical “slice” out of closer proximity detail.
The Backseam Convergence parameter can be adjusted in Spherical view to find the best setting for the visual
convergence of detail in the scene that you have captured. Increasing this value will reveal closer proximity
details (thus removing the vertical “slice” through them). But it will potentially cause distant objects to be
viewed “doubled,” i.e. you will see the same detail to the left of the seam as you will to the right. So setting the
Backseam Convergence parameter will likely require a compromise between near and far detail reproduction.
Click and drag the mouse cursor in a non-seam area of the image, and you can pan the image left or right to
better expose the back seam. The image will “wrap around” so you can see how the left and right edge of the
latlong/spherical/equirectangular image will connect.
With the image panned to the right, and Backseam Convergence set to 1.000, notice how the close proximity detail of the shower floor and curtain
rod on the left side of the image don’t appear to line up perfectly. You will likely want to increase the Backseam Convergence value to address this.
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With the Backseam Convergence now set to 1.031, the tile floor of the shower and the curtain rod line up much more accurately.
The Stitching Assets window
Once the correct asset is selected, and the optimal seam positions are determined, click the Stitch button at
the lower left of the UI (Stage focus, blue UI elements). This will bring up the Stitch Asset window.
The Stitch Asset window
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The Range, File naming, File name prefix, and Destination fields should already be familiar to you.
Format selects the output file format:
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Spherical DPX will stitch a 360-degree panorama and output a latlong/spherical/equirectangular DPX
image per frame.
Frame type specifies the panorama type:
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3D panorama (separated frames) outputs separate left and right eye panoramas.
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2D panorama (Left eye) outputs frames for the left eye only.
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2D panorama (Right eye) outputs frames for the right eye only.
Rendering 2D panoramas is a bit faster than 3D panoramas because the other eye output is omitted.
Resolution provides several options for specifying the output resolution of the panoramic images:
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4K (4096x2048)
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UHD (3840x2160)
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3K (3072x1536)
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HD (1920x1080)
Stitching Quality has two options:
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High (slow): Frames are stitched with computational stitching at high quality. This option should be
used to get the highest possible output quality. But this comes with a cost of rendering speed. With
high-speed SSD drives serving the input files, this process runs at approximately 10 seconds per frame
on a Mac Pro equipped with dual D700 AMD GPUs. Less speedy input/output hard drives, or the use of
dual D500 AMD GPUs will cause the process to run at a slower rate.
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Normal (fast): Frames are stitched with a computationally simpler process as compared to High quality.
But the result is that the stitching runs at a much faster rate. With high speed SSD drives for input and
output, Normal quality exporting Spherical DPX stitches about four frames per second on a Mac Pro
equipped with dual D700 AMD GPUs. Again, slower input or output drives and lesser GPUs will affect the
speed of this stitching process.
The Convert input images into spherical images option will create per-camera
latlong/spherical/equirectangular/layers from the fisheye DPX/EXR files. These are 4-channel RGBA 10-bit DPX
files that contain an alpha mask for the active picture area. These files can be particularly useful if you would
like to manually fix any artifacts generated from the automated stitching process.
Since enabling the output of the converted frames generates much more data, it will also increase the
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per-frame processing time by several seconds, the actual time of which is heavily dependent on the write speed
of your hard drive.
Advanced Settings
You can manually input values for the seam locations on this tab if you wish. But the recommended procedure
is to visually adjust them in Spherical view as described in the Setting Seam Positions section of this
documentation.
To adjust seam locations, enter the desired vertical seam location start and end values in degrees. Zero
degrees is assumed to point directly forward from the camera.
Allowed ranges for seam locations (in degrees) are:
•
Side left: -115 to -60
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Front left: -55 to -5
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Front right: 5 to 55
•
Side Right: 60 to 115
Best practices and additional notes for stitching using OZO Creator
Stitching seam areas are interpolated from two or more fisheye images, and at best the stitching seam areas
are not noticeable. But in certain situations various kinds of interpolation artifacts such as ghosting, blurring,
twitching, or garbage pixels may show up.
To ensure the best possible panorama stitching quality, here are some best practices and notes that may be
helpful:
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If possible, during filming it is good to try to keep most of the action in non-interpolated areas. The
area right in front of the camera has a quite large FOV of seamless area, and thus it provides the best
image quality.
•
The closer the filmed content is to the camera, the more disturbing the interpolation artifacts are. Slow
moving content at close distance in interpolated areas is perhaps the most "dangerous" combination.
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Foreground content in which color is similar to the background may cause interpolation artifacts more
easily than content with high contrast.
•
Moving thin items such as electric wires, ropes, poles etc. in the interpolated areas close to the camera
are very likely to cause ghosting artifacts.
22
•
Recommended minimum distance for content in interpolated areas is about 1.5 - 2.0 meters.
•
The 3D effect is gradually faded into 2D at the sides of the camera, around -90 to -120 and 90 to 120
degrees from the camera’s "zero" angle (directly forward).
•
The location of the Back seam cannot be chosen like with other seams.
•
Bright light sources especially above or below the OZO device may cause lens flares or light streaks
which have different shapes and/or locations in different cameras because of the fish eye lens optics.
This may potentially confuse the interpolation algorithm.
•
Image quality & stereo effect in general is not optimal directly above and below the OZO device.
•
The five first and five last frames of the stitching process may typically contain more unwanted artifacts
than subsequent frames. Thus it is good to have few extra frames of handle at the start and end of the
stitching range.
•
Panorama stitching takes a lot time. Depending on the computer’s capabilities, hard drive read/write
speed, and your chosen settings, stitching one frame at high quality and resolution settings may take
up to 10-30 seconds.
Stitching DPX files using Deluxe
The same proprietary technology developed by Nokia for the automated stereo stitching of footage has been
licensed for use by Deluxe, a full-service, internationally present post-production company. You may use their
services for stitching OZO footage to receive stereoscopic output from your color-matched and de-noised percamera files.
Deluxe can additionally handle end-to-end workflow for the post production of footage captured using the
OZO, including editing, audio mixing, color, de-noising, stitching, and the encoding and packaging of
deliverables.
Stitching High Bitrate MP4s using JAUNT Cloud
JAUNT’s cloud stitching platform also supports stereoscopic stitching using footage captured using the OZO
camera. This platform accepts the High Bitrate MP4 export (not DPX/EXR/DNG files) as the source to stitch.
The High Bitrate MP4s are h.264 compressed files. So their size will vary depending on content. But expect a
data footprint in the neighborhood of 2.5GB – 5.5GB per minute of exported High Bitrate MP4 footage.
Stitching DPX files with 3rd-party software
There are also multiple monoscopic software stitching solutions available, including VideoStitch, Kolor
Autopano, and Nuke’s Cara VR tools. These are compatible with content captured using the OZO camera. But
please note that these tools cannot create stereoscopic stitched footage.
23
VFX
After stitching, the images will likely need to go through visual effects and paint to manually clean up and repair
any artifacts from the stitching process.
The artists will likely require the per-camera color corrected/de-noised/etc. images to use in repairing artifacts
or reconstructing imagery. Providing the artists with the “human readable” metadata information created
during the export of the DPX files, as well as the definitions below, should give them the information they need
to take a fisheye image, and create a spherical/latlong/equirectangular image than can be used to
paint/composite into the stitched image.
Metadata parameter definitions
•
The Center parameter refers to the X and Y coordinates of the center of the lens, measured with
respect to the center of the sensor. Since the sensor is 2048X2048, the two values should both be
close to 1024 (1024 being half of 2048, and thus the value of a perfectly centered lens)
•
The Focal parameter describes the image circle radius in pixels at 1.0 radians (about 57 degrees) FOV.
Typically Nuke or other compositing programs will use "Degrees" for this value. So you will likely have to
apply a conversion to get to an accepted value.
•
The Distortion parameters (which are named k1 - k4) are always bundled with Focal value. They
describe a polynomial function that approximates lens mapping curve. Four distortion parameters
should in theory give a bit more accuracy than three parameters.
o
The distortion parameters use the Open CV 3.0 fish eye model described here:
http://docs.opencv.org/3.0.0/db/d58/group__calib3d__fisheye.html
o
Specifically regarding the distortion function, the deviation from f.theta is described by a
polynomial, theta_D = theta ( 1 + k_1 . theta^2 + k_2 . theta^4 + k_3.theta^6 +
k_4.theta^8).
•
The Position parameter is used to describe the location in 3D space of each of the eight cameras using
the mid-center-right camera and optical axis as the origin frame of reference.
Alternatively, OZO Creator and Deluxe can optionally output per-camera spherical/latlong/equirectangular
images as part of the stitching process (the Convert input images into spherical images option), bypassing the
need for VFX artists to create these images themselves. This is likely the best option from a workflow efficiency
perspective.
If you want to composite special effects into the imagery, the post-stitched footage would also be the material
to use. CGI needs to be composited into stitched spherical imagery.
24
Final Color
You can also begin to do final color on the stitched images in parallel with the VFX work. This is an industrystandard full color correction pass to set the “look” of the show.
The left and right eyes are made up of much of the same actual camera information simply stitched together
with the proper offset from one another. Thus you shouldn’t have to do too much color balancing between the
eyes, as long as the color matching pass on the per-camera fisheye imagery was precisely done.
One significant thing to take into consideration is the multitude of HMDs that will be used to view this material.
It would be a good idea to output color bars and profile the intended display (Samsung phones, Oculus Rift, HTC
Vive, etc.) as much as possible prior to starting the color correction pass, so that the colorist has a better sense
of the target they need to reach.
While most phones and other displays profess to use a standard Rec709 gamut, you may find that you will need
to build a custom LUT that best represents the color and contrast of the HMD to best translate the results you
see on the monitor. Phones in particular (the Samsung Galaxy S6 and S7 being popular models for viewing VR
content using the Gear VR system) may have a much bluer white point than is standard for television monitors.
Titles and Credits
Titles and credits should, under normal circumstances, be made small enough so that the viewer does not have
to look around in the HMD to view them. The FOV in most HMDs is quite narrow. So appropriately-sized
credits will look quite small on the stitched left and right eyes when viewing on a monitor.
You may also want to have multiple copies of the credits spaced out from one another at 90 or 120 degrees so
that the viewer will see one of the copies, regardless of the direction they are looking when the credits begin.
The credits can also be scrolled vertically or horizontally if you wish. Though you may not want to do this over
black, as it might induce slight motion sickness in the viewer. In the case of scrolling credits, it will likely be
better to “anchor” the viewer with some kind of static background over which the credits move.
Credits can also be placed in 3D space. But if the credits are over black, then a monoscopic presentation is
most often used.
Editorial Decision-making Using Creator
If you only need a simple edit of footage from the OZO camera (i.e. no fades/dissolves or import of external
media such as titles), or just want to select your “hero” takes prior to exporting footage, Creator provides basic
review and editing functionality.
25
Selecting “hero” takes
Once you have a number of captures imported into the Stage pane of Creator, you can simply click on one
capture after another and play them back using the transport controls. This way, you can quickly select the
captures that contain the take(s) you want to use in your edit and eliminate the captures that you wish to leave
on the cutting room floor.
Basic editing using Compositions
If you want to assemble a rough edit, drag your first selected asset from the Stage to the timeline. This will put
the UI into Composition focus mode (green UI elements). Use the mouse to position the playback cursor on the
timeline to the start point of your selection, and click Trim In. Then set the timeline cursor to the end point of
your selection, and click and Trim Out.
Please note that you cannot mix-and-match assets on the timeline (e.g. put a raw capture on the same
Composition timeline as per-camera DPX files and stitched DPX files), with the exception of per-camera DPX
and per-camera EXR files.
You can also click and drag on the head or tail of the green “block” that represents the asset to trim the start or
end point. If you click and drag on the middle of the green asset “block”, you can reposition the clip on the
timeline
Then simply continue to drag captures from the Stage to the timeline, trim them, and drag them around on the
timeline to assemble them as you like.
If you want to use multiple ranges from a single capture, you will have to pull the same capture back onto the
timeline after your first trim action, and trim the new “pull” of the capture to the additional selection you’d like
to use. You cannot make multiple selections from a single instance of a capture on the timeline.
Also, be aware that you will not be able to easily see the original “source” timecodes of these selections after
trimming, as the timecode display in Creator only indicates the “timeline” or “output” timecode and not the
“source” timecode of each segment on the timeline. However, any exported files do retain the “source”
timecode in the metadata of the file header, regardless of their position on the timeline.
You can export the full length of the edited Composition by pressing the Export button and choosing All. Or if
you want to export just a selection (or perhaps export each individual cut of your edit into its own folder), you
can set the In and Out points, press the Export button, and choose Selection (In-Out).
To set the In and Out points, simply click and drag on the two triangular “flags” just below the timeline. These
will “snap-to” the edges of individual cuts on the timeline. You can also position the playback cursor and press
the Mark In and Mark Out buttons to respectively set the in and out points.
If you need more precision when editing, click and drag the Zoom control to the right to zoom into the timeline.
Or if you need to see the entirety of a long timeline, click and drag the Zoom control to the left to zoom out.
26
Once you have the Timeline edited up as you like, you can additionally render it to MP4, or to the OZOPRW
format which is read using the OZO Preview application (discussed later in this documentation).
Press the Render button (ensure the UI is displaying the green Composition focus mode), and make the
appropriate selections for your playback platform. This is discussed in more detail in the Rendering for
Playback section later in this documentation.
Exporting Compositions
Please note that the naming conventions are a bit different for the Export Composition window as compared
to the Export Asset window, as the timeline of a Composition can be made up of multiple captures. Please also
note that you cannot export Compositions made up of stitched assets.
•
Use project name will use the name of the current OZO Creator project.
•
Use project name and current time will combine the name of the OZO Creator project and the time of
the initiated export to create the name of the exported file.
•
Custom allows the user to specify the exact name that they want for the file.
The Export Composition window
Rendering for Playback
You will likely want to render interim “review” versions of your footage as you progress, or even render directly
to a stitched MP4 output from your raw captures as part of a “fast-turnaround” workflow. Depending on your
input, certain options may or may not be selectable.
Rendering works very similarly to exporting, in that you can render full or trimmed assets from the Stage, or
from an edit of multiple assets assembled on the Composition timeline.
27
To render an asset in the Stage, simply command + click on an asset or navigate to Create in the main menu
and select Render (or click the Render button when in “blue” Stage focus). Then choose your filename, the
output location, and the preferred render quality.
To render a Composition, click Render (or navigate to Create>Render).
Range, File naming, File name prefix, and Destination should be familiar fields to you already.
Format determines the output format of the rendered files. There are up to two options available, depending
on the kind of asset you are rendering:
•
MP4 – this selection creates an h.264-encoded file for you to play back using the application of your
choice. A common example would be to render a MP4 at UHD resolution with top-bottom packing for
use on a Samsung Gear VR with the Oculus Video app. Note that this selection has different encoding
options than OZOPRW.
•
OZOPRW - this selection creates an .ozoprw file for use with the OZO Preview software. This software
will allow you to review the footage in a stereoscopic 360 panoramic view using a supported HMD
(currently, only Oculus Rift DK2 HMDs are fully supported). Please note that this selection has different
encoding options than MP4 and that these .ozoprw files can only be read with OZO Creator or OZO
Preview.
Rendering to stitched MP4
The following options are only available if MP4 is selected in the Format menu.
Stitching Quality is available only if rendering from non-stitched imagery (captures, DPX files, EXR files), as OZO
Creator will first stitch and then encode/render the footage. These options are the same as with the Stitch
functionality.
•
High (slow): Frames are stitched with computational stitching at high quality. This option should be
used to get the highest possible output quality. But this comes with a cost of increased rendering time.
With high-speed SSD drives serving the input files, this process runs at approximately 10 seconds per
frame on a Mac Pro equipped with dual D700 AMD GPUs. Less speedy input/output hard drives, or
the use of dual D500 AMD GPUs will cause the process to run at a slower rate.
•
Normal (fast): Frames are stitched with a computationally simpler process as compared to High quality.
But the result is that the stitching runs at a much faster rate. With high speed SSD drives for input and
output, Normal quality stitches about four frames per second on a Mac Pro equipped with dual D700
AMD GPUs. Again, slower input or output drives and lesser GPUs will affect the speed of this stitching
process.
Output Quality determines the quality/bitrate of the encoded MP4 file.
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•
High provides the best quality and highest bitrate (approximately 48Mbps for UHD, depending on all
the render settings). This is the recommended option when drive space and time permit as it produces
noticeably better image quality than Normal.
•
Normal will take less time to render and create a smaller file as compared to High (approximately
6Mbps for UHD, depending on all the render settings).
Profile allows you to select presets for Nokia SDK-enabled applications on phones and on computers, as well as
define your own custom encoding options.
•
OZO Player Mobile changes the encoding settings to a preset configuration that is readable by mobile
applications that support the Nokia OZO SDK. This outputs a stereoscopic MP4 file which is output with
a top (Left eye) – bottom (Right eye) configuration at UHD resolution.
•
OZO Player Desktop changes the encoding settings to a preset configuration that is readable by
desktop computer applications that support the Nokia OZO SDK. This outputs a stereoscopic MP4 file
that contains two full UHD streams, one for each of the Left and Right eyes.
•
Custom allows you to choose your own configuration to encode for the playback platform of your
choice.
Frame type works essentially the same as it does in the Stitch options. This specifies the panorama type:
•
3D panorama (separated frames) encodes a render with both left and right eyes.
•
2D panorama (Left eye) encodes a render with the left eye only.
•
2D panorama (Right eye) encodes a render with the right eye only.
Frame packing determines how the left and right eyes are encoded into the rendered file. This option is only
available when 3D panorama is selected under Frame Type.
•
Top-bottom (sometimes called “over-under”) encodes both the left eye and right eye into a single
frame. The eyes are stacked on top of one another in this frame. The left eye is on top, and the right
eye is on the bottom. Please note that this option reduces the vertical resolution of each of the eyes in
order to pack both into a single frame.
•
Separate encodes the left and right eye into two full-resolution individual streams within the rendered
file. This is the highest-quality option, as it retains full resolution for each of the individual eyes.
However, it is less compatible than Top-bottom. Please ensure that your playback device and playback
application can accommodate this encode.
Resolution provides several options for specifying the output resolution of the panoramic images:
•
4K (4096x2048)
29
•
UHD (3840x2160)
•
3K (3072x1536)
•
HD (1920x1080)
Audio provides multiple options for encoding the audio of the MP4 file.
•
4.0 will encode four channels of loudspeaker-configuration audio into the MP4 file
•
5.0 will encode five channels of loudspeaker-configuration audio into the MP4 file
•
7.0 will encode seven channels of loudspeaker-configuration audio into the MP4 file
•
8.0 will encode eight channels of loudspeaker-configuration audio into the MP4 file
•
Mono will encode a single monophonic track of audio into the MP4 file
•
Ambisonics will encode first order, four channel ambisonic audio into the MP4 file.
•
Disabled will disable the encoding of audio altogether and output an MOS MP4 file.
Rendering to OZOPRW
Files can also be rendered for OZO Preview by selecting OZOPRW in the Format menu of the Render Asset or
Render Composition window.
Stitching Quality is available only if rendering from non-stitched imagery, as OZO Creator will first stitch and
then encode/render the footage. These options are the same as with the Stitch functionality.
•
High (slow): Frames are stitched with computational stitching at high quality. This option should be
used to get the highest possible output quality. But this comes with a cost of rendering speed. With
high-speed SSD drives serving the input files, this process runs at approximately 10 seconds per frame
on a Mac Pro equipped with dual D700 AMD GPUs. Less speedy input/output hard drives, or the use of
dual D500 AMD GPUs will cause the process to run at a slower rate.
•
Normal (fast): Frames are stitched with a computationally simpler process as compared to High quality.
But the result is that the stitching runs at a much faster rate. With high speed SSD drives for input and
output, Normal quality stitches about four frames per second on a Mac Pro equipped with dual D700
AMD GPUs. Again, slower input or output drives and lesser GPUs will affect the speed of this stitching
process.
Output quality controls the quality of the encode:
•
High takes longer to encode and results in a larger file, but provides the best quality. This is the
recommended setting, when drive space and time permit. High is noticeably better quality than
Normal.
•
Normal results in a file typically about 50-100% smaller than that of High.
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Encoding for YouTube
Rendering with the following settings will provide you with a file that is compatible with YouTube’s 360 video or
3D VR playback, including spatial audio, and will best preserve quality through YouTube’s transcoding process.
•
Under Format, choose MP4
•
Under Profile, choose Custom
•
Under Output Quality, choose High
•
If you choose 3D Panorama under Frame Type, you need to select Top-Bottom under Frame Packing
•
Under Resolution, choose UHD (3840x2160)
•
Under Audio, choose Ambisonic
After rendering completes, you will need to use Google’s 360 Video Metadata app to inject the proper metadata
into the encoded file prior to uploading to YouTube to ensure proper spatial audio playback.
Download Google’s 360 Video Metadata app available through a link on this page:
https://support.google.com/youtube/answer/6316263
More information from Google on their requirements for spatial audio support (as well as a link to the
command-line version of the Metadata tool) can be found here:
https://support.google.com/youtube/answer/6395969
Please note that, depending on the length of your content, it may take several hours for the YouTube platform
to properly encode both full resolution video and spatial audio playback.
Viewing Stitched MP4s Using a Gear VR System
Rendered and stitched MP4 files (i.e. not High Bitrate MP4s) encoded using Creator are compatible with the
Oculus Video app running on a Samsung Gear VR system when using a compatible Samsung phone.
The following render settings provide maximum compatibility:
•
Under Format, choose MP4
•
Under Profile, choose Custom
•
Under Output Quality, choose High
•
For stereoscopic imagery, choose 3D Panorama under Frame Type, and then select Top-Bottom under
Frame Packing
•
For monoscopic imagery, choose either 2D Panorama Left Eye or 2D Panorama Right Eye
•
Under Resolution, choose UHD (3840x2160)
•
Under Audio, choose Mono
You will likely need to install the latest version of the Oculus software onto your phone. Once installed, plug
your Samsung phone into your computer using the included USB cable. If you are using Windows, the phone
31
should be detected automatically. If you are using a Mac, you will likely have to download and install the free
Android File Transfer application.
https://www.android.com/filetransfer/
Once the phone is connected, ensure that there exists an Oculus directory in the root directory of the phone.
Inside the Oculus directory, create a directory called 360Videos. Simply copy the rendered MP4 files into this
directory. These files will be accessible in the My Videos list inside the Oculus Video application.
Note that the following file suffixes are necessary for Oculus Video to recognize the frame packing format. Do
not change these portions of the filename, otherwise the files may not play back properly.
•
_TB.mp4 designates a top-bottom (over/under) stereoscopic file
•
_M.mp4 designates a monoscopic (2D) panorama of either a left eye or a right eye
Viewing OZOPRW Files Using OZO Preview
OZO Preview can be freely downloaded from Nokia’s website:
https://ozo.nokia.com/ozo_en/nokia-ozo-applications/
Simply open an .ozoprw file using OZO Preview, and you can review rendered footage using either your
computer monitor and a mouse for 2D playback, or an Oculus DK2 for 3D head-tracked playback, along with a
pair of regular headphones for audio reproduction (including binaural audio, if the render was encoded with it).
You can also use OZO Preview to view MP4 files generated by Creator. Preview will be able to identify the
stereoscopic/monoscopic format of the file through the file suffix.
•
_TB.mp4 designates a top-bottom (over/under) stereoscopic file
•
_2LR.mp4 designates an MP4 containing two, full resolution separated left and right eye streams
•
_M.mp4 designates a monoscopic (2D) panorama of either a left eye or a right eye
When viewing the rendered footage in OZO Preview, you can select Show Info Overlay to display an angle
overlay, as well as the current time and total run time of your footage.
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The Info Overlay displays the current angle, the current time (upper left), and the total run time (upper right)
Additionally, OZO Preview can sync to Pro Tools using Midi time code (MTC) generated by the Pro Tools
application. This way, you can play back and mix audio in Pro Tools while viewing the footage in an HMD
environment in order to create the most accurate spatial audio mix for presentation. This is discussed in more
detail in the Sound Mixing section of this documentation.
Sound Mixing
OZO captures spatial audio with eight microphones positioned over the surface of the device. The microphone
signals are stored with the raw captures. These microphone signals are later processed with software to enable
accurate headphone and loudspeaker playback.
Audio capturing itself does not require anything specific for VR playback. Typical means can be used to capture
the audio, such as close miking, coincident microphones, microphone arrays, etc. In addition, ADR dialogue or
Foley effects can be added in the mixing phase as is normally done.
Audio mixing for the Nokia OZO can be performed in the same way as normally done for films with 5.1 or 7.1
mixes. Essentially, if the mix works with a properly configured loudspeaker playback, it should work with Nokia’s
binaural headphone playback. No special compensation is needed during the mixing process to account for the
conversion from multi-channel playback to spatial binaural, as the binaural rendering algorithms will handle that.
However, one large difference between mixing for traditional theatrical or home video displays and mixing for
VR is the precision required in panning and defining the perceived distance to the source.
VR mixes must be panned extremely precisely, otherwise the auditory direction of the source and the visual
direction of the same source in the image will not match, and this will negatively impact the immersion for the
viewer, and potentially result in confusion.
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Similarly, the perceived auditory distance to the source should match as closely as possible the perceived visual
distance to the same source. This can be achieved through the application of varying levels of locationappropriate reverb.
That being said, you will likely have to compromise realism a bit to preserve clarity, and not re-create a perfect
auditory reproduction of the environment. This is because the environment, if reproduced perfectly, will likely
be too “ambient” to provide the viewer with enough clarity to easily discern dialogue, especially from distant
sources.
The currently supported loudspeaker layouts are (positive degrees to the right of center):
•
4.0 channels: -45, 45, -135, and 135 degrees
•
5.0 channels: -30, 30, 0, -110, and 110 degrees
•
7.0 channels: -30, 0, 30, -90, 90, -150, and 150 degrees
•
8.0 channels: 0, 45, 90, 135, 180, -135, -90, and -45 degrees
If you are muxing audio to picture using OZO Creator to render MP4 files, please note that the channel order in
the final mixed multichannel 48kHz 24-bit WAV file has to match the aforementioned supported loudspeaker
layouts for proper spatial positioning. So, for a 5 channel mix, track 1 would correspond to the Left channel (30), track 2 to the Right (30), track 3 to the Center (0), track 4 to the Left Rear (-110), and track 5 to the Right
Rear (110).
You should mix using loudspeakers equidistantly located from you at the specified angles for your chosen
number of channels. Loudspeakers still currently provide the best “master” audio reproduction for mixing. You
can review your mix with a binaural rendering plugin and a pair of high-quality headphones, but you should not
mix entirely using headphones, as the mix will likely not translate well to other sets of headphones.
This mix should be synced to monitor playback of a 360 Editorial with the same loudspeaker angles burned in,
which provides a 2D visual representation of the position of the source within the 360-degree sound field. This
is probably the best way to “rough-in” the mix.
Reviewing your mix using an HMD
You can additionally review your mix using an Oculus DK2 HMD by using Midi time code (MTC) to sync OZO
Preview to the playback of Pro Tools. Loudspeaker audio playback using a video-synced HMD is currently the
most accurate way to judge if the mix of the audio matches the visual content.
Midi control can be used to start OZO Preview playback from digital audio workstations (DAW) when they are
running in different computers in the same network. This enables you to have audio playback from your DAW
and video playback from OZO Preview in sync.
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To use this feature with Pro Tools, first make sure "Network midi" is set up in "Audio Midi Setup" in OS X
preferences and that in OZO Preview "MTC Sync" command in "View" menu is enabled.
Then do the following in Pro Tools:
•
Set up your session ("Setup" > "Session") to start at 00:00:00:00.
•
In "Setup" > "Peripherals...", set the MTC Generator to be your network session.
•
Go to the next tab "Machine Control" and enable the master.
•
Select your network midi session.
•
In "Setup" > "Preferences", go to the "Synchronization" tab and activate both "Machine Chases Memory
Location" and "Machine Follows Edit Insertion/Scrub".
•
In your transport controls activate "GEN MTC".
You might need to adapt your project to account for ˜600ms of startup buffering latency of the player, after
which the content should be in sync.
Another, perhaps less complex way to review the mix in an HMD is simply to have your locked picture edit
sideloaded to a Gear VR system (refer to the Viewing stitched MP4s with a Gear VR system portion of this
documentation if you need more information on how to do that). Then manually sync the start of the playback
in the HMD and the playback in your DAW of choice.
Simply ensure that you are in the optimal location within a properly arranged loudspeaker array while reviewing
playback with an HMD, and you should get a fairly accurate representation of how the mix will work with your
sequence after being rendered for binaural playback.
Reviewing footage in any HMD will block the view of your controls, so it is unlikely that you will be able to make
immediate adjustments while reviewing the mix in this fashion. You will likely have to make mental notes, take
off the HMD to make adjustments, and then review again. Despite the inconvenience, it is highly recommended
that you review your mix using this method before finalizing the mix because it best represents the end user
experience.
OZO Creator Command Line Beta
OZO Creator also includes beta-release command line functionality for scripting batch renders. It can either be
run directly from a command line prompt, or from a JSON script.
You can run OZO Creator command line by using Terminal to navigate to /Applications/OZO/OZO\
Creator.app/Contents/MacOS/ (assuming you have installed the application to its default location) and then
typing “./OZO\ Creator”
35
Below is the documentation accessed through the command line tool.
Command line options
The following documentation is displayed by typing the command line syntax “./OZO\ Creator -–help” in the
install location.
Options:
-h, --help
-v, --version
--examples
--input.audioGain <double>
--input.exrMaxValue <double>
--input.exrSceneReferenced <bool>
--input.filename <string>
--input.file <<file>>
--input.frameCount <int>
--input.frameStart <int>
--input.in <int>
--input.metadataFile <string>
--input.out <int>
--input.spherical <int>
--process.editorial <bool>
--process.outputHeight <int>
--process.outputWidth <int>
--process.sphericalPanorama <string>
--process.stitch.camsSeparately <bool>
--process.stitch.smoothseams <int>
--process.stitch.type <string>
--output.audio.aac <bool>
--output.audio.ambisonic <bool>
--output.audio.enabled <bool>
--output.audio.speakerSignals <int>
--output.file <string>
--output.metadataFile <string>
Displays this help.
Displays version information.
Prints example usages.
Allows adjusting audio gain. Value in
dB.
Set value to map to max value
Set false to mark the exr to not to
be scene referenced
Input file containing the video or
audio data. For still frames the file
pattern. For fisheye stills, %d will
be replaced sensor number. For
spherical stills %s will be replaced
with 'left' or 'right'. %%d will be
replaced with frame number.
Alias for --input
Total number of frames in image
sequence. Must be specified.
First frame of still image sequence
First frame to use from a capture
file. Starts from 0
Input file containing the binary
metadata to be used with a fisheye
image sequence.
First frame not to use from a capture
file, after in
Set to mark still image sequence as
spherical. 1 for left mono, 2 for
right mono, 3 for stereo.
Produce editorial video
Set the output height for processing
Set the output width for processing
Specifies how stitched inputs are
used in output. Value is Separated,
TopBottom, MonoLeft or MonoRight
Write spherical image for each camera
0 for normal stitching, 1 for slower
high quality stitching
Select stitch type Separated or
TopBottom
Encode audio with aac
Ambisonic audio encoding
Set to false to disable audio output
If set, export audio as speaker
signals instead of mic signals. This
number tells how many speaker channels
to render.
File for the data. For image
sequences the pattern is the same as
input.
File for binary metadata to be used
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--output.metadataTextFile <string>
--output.video.burnInTimestamp <bool>
--output.video.crf <int>
--output.video.height <int>
--output.video.packSources.cols <int>
--output.video.packSources.rows <int>
--output.video.speakerLayout <int>
--output.video.width <int>
Arguments:
file
with stills is to be written.
File for textual metadata
If set, timestamp is drawn into the
videoframes
Compression quality, smaller is
better
Override output height
How many sources to combine into
single row of single stream. To
combine 8 sources in to single stream
in 4x2 grid, give 4 here
How many sources to combine into
single col of single stream. To
combine 8 sources in to single stream
in 4x2 grid, give 2 here
Specifies the number of speaker
angles in editorial overlay.
Override output width
JSON file containing the rendering
instructions.
Scripted command line usage examples
The following documentation is displayed by typing the command line syntax “./OZO\ Creator -–examples” in
the install location.
OZO Creator command line usage examples
The JSON file is the primary interface. The command line arguments can be used instead if
there is only one input file. At the moment there can be only one output.
Refer to --help text for descriptions of the properties.
=== Capture -> Fisheye DPX or EXR ===
JSON file:
{
"inputs": [
{
"file": "/path/to/capture.mov"
}
],
"outputs": [
{
"file": "/path/to/output_exr/exr/cam%d/%%07d.exr",
"metadataFile": "/path/to/output_exr/metadata/foo.Metadata",
"metadataTextFile": "/path/to/output_exr/metadata/first_frame_metadata.txt"
}
]
}
The output file type is detected from output file. Command line arguments for similar
operation would be:
--input.file /path/to/capture.mov \
--output.file /path/to/output_exr/exr/cam%d/%%07d.dpx
=== Capture -> Editorial ===
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{
"inputs": [
{
"file": "/path/to/capture.mov",
"in": 0,
"out": 5
}
],
"process": {
"editorial": true
},
"outputs": [
{
"file": "/path/to/output_editorial.mov"
}
]
}
"in" and "out" for an input can be used to select in and out points for a capture.
=== Capture -> Stitched DPX ===
{
"inputs": [
{
"file": "/path/to/capture.mov",
"in": 0,
"out": 3
}
],
"process": {
"outputWidth": 1920,
"outputHeight": 1080,
"stitch": {
"type": "Separated"
}
},
"outputs": [
{
"file": "/path/to/output_stitched/%s_%%07d.exr"
}
]
}
=== Fisheye DPX -> mp4 ===
{
"inputs": [
{
"file": "/path/to/output_dpx/dpx/cam%d/%%07d.dpx",
"metadataFile": "/path/to/output_dpx/metadata/foo.metadata",
"frameCount": 5
}
],
"process": {
"outputWidth": 1920,
"outputHeight": 1080,
"stitch": {
"type": "Separated"
}
},
"outputs": [
{
"file": "/path/to/output_stitched.mp4"
}
]
38
}
For image sequence inputs the frameCount has to be specified. Is like this, for now, because
reading huge image sequence from a network disk can be slow and you probably already know
the range.