Sigrid Big Top 40

  • Deliverable

    YouTube 3D 360

  • My Role

    Stitch, Cleanup, Grade

  • Client

    BigTop40, Global Group

  • Project Facilitator


  • Producer

    Henry Stuart

This was one of four videos that I did post production on as part of a wider campaign Visualise produced for BigTop40 and Global Group. Each of the videos featured up and coming artists, in my case Sigrid and HRVY, performing two of their songs in a session style. Direction utilised the full 360 by placing points of interest in the whole space, as well as performance direction to move the artist naturally in the space.

I was involved mainly in post production, however, I did attend the shoot to get to grips with what was to be expected and understand the performances more. The Google Jump / Yi Halo was used to film the artists, which meant that stitching was handed by Google’s Jump servers. I oversaw this stitching process and fine-tuning the AI parameters for the stitch. Once we had received stitches back from Google, I could then begin working on the additional elements to the shots, these are where multiple versions of Sigrid enter the frame and where HRVY shares the room with a mirrored dance group. With regards to adding additional Sigrid’s, this was done through detailed masking in After Effects where each of the alternative takes was synced and combined to create the final video. Similarly, with HRVY, the two continuous performances were synced, then by masking between the two groups allowed them to seamlessly traverse the stage area. Through good choreography and timings, there is no point where they fully cross each other’s paths, but they do come close at a number of points which further adds to the spectacle.

There was also a number of cleanup corrections to be made in both performances where the AI stitch had issues with vertical lines. At some points, the vertical lighting stips would warp together and create a bending effect. Likewise, the projection screens appeared washed-out at parts of the performances, so this was likewise something that was added in post to make the colours more vibrant as intended. As part of the production process, the camera was placed upside down, hanging from the lighting truss, this allowed all the rigging to be above the camera, making for smooth shadows and generally more freedom with regards to how close the performers could get to the camera, as well as ensuring that there was no movement at all in its position. 

This was one of my first ventures into stereoscopic 360 which was both a challenge and exciting. Compositing a 3D is an additional skill as any disparities between either eye can be highly noticeable. But overall the learning points I took from this project have helped inform future 3D films, as well as developing my overall 3D compositing skills.