| The Mettle conversion tools were acquired by Adobe a few years ago and have been included in AE for a while, but do not enable a stereo workflow.
Premiere also added some stereo support for 360, so general editing in stereo top/bottom format is really not complicated. Premiere also includes immersive plugins for stereo titling.
For masking and tracking, Mocha is really the only stereo 360 solution for Adobe and we have a patent on stereo planar tracking which enables a stereo masking workflow that handles disparity. If you follow this workflow, you can do quite a lot of comping in the top/bottom format, but definitely be prepared for lots of precomps. There are a fair amount of Adobe users using this workflow successfully and you can find many of them on a FB user group called 360 VR Professionals.
In my experience the budgets for stereo 360 have collapsed making Nuke + Kara VR (plus talent) not affordable for most projects. To get into this you are looking at $5-7k for one license.
Years ago the big pain points were stitching And fixing bad stitching errors. Kara VR was the best tool 4-5 years ago but many of these issues have been resolved by the cameras. Mistika VR is probably the best application these days for professional stereo 360 stitching and also has tools fir stabilization and more.
Mocha Pro for Adobe is $295 per year.
Hope this helps. Sent from my iPhone On Nov 4, 2019, at 6:50 PM, Brian Higgins <AE-List@media-motion.tv> wrote:
 To elaborate further, we did some 360 tests and looked into doing stereo 360 work a few years back. All the projects that had VFX and moving cameras had 7 figure budgets and were done by large-ish vfx houses. It's massively more complicated than stereo or single camera. The Cara VR tools were a must have at the time, although I think the Foundry have integrated many of them into the latest release of Nuke in the name of adding low hanging fruit to an upgrade.
-b I agree with Chris. AE + 360 + Stereoscopic = duck and cover.
360, Stereoscopic I treated just like Maya. I opened it, looked around and said f... this, I’m out. Never to look back. :)
The 360 part alone is a nightmare to wrangle in AE. Doubling the nightmare with Stereoscopic is inviting the universe over to knock the crap out you. Lol.
In all seriousness though, AE is not going to hang in there very well stability wise is you are planning on tracking, comping, and doing everyday VFX. Render times alone on standard 360 footage is insane, and that’s before you do any work on it.
If your only option is AE then as far as I know Mettle is going to be your option for handling 360 conversions so you can even do VFX work. For Stereoscopic you’ll likely have to manually manage the Left and Right top level comps. The syncing alone between them will be it’s own issue. You may get interpolation issues if you do any retiming of any kind as that stuff doesn’t like to carry through all precomps up to the top comp cleanly sometimes.
Both Stereoscopic and 360 still seem to be a wild west adventure as nobody really has locked down a solid AE pipeline in my opinion. You might have to pave the way a bit.
David Torno--------------------
"The most useless day is that in which we do not laugh" -Charles Field I was working on my first 360 video last year - mono - and it wasn’t exactly fun. I was thinking about how it would work in stereo, and although I might be wrong it looked like you’d be juggling 12 precomps in After Effects. If that’s right then really, my first reaction is just “run away!"
I have been playing with 360 stereo video for work. I am trying to get a workflow going for compositing | tracking | stabilizing in AE Almost everything I come across in my searches is for monoscopic 360. Does anybody know of any resources to learn how to work with stereoscopic 360 footage in AE?
--
|
