The Horses of Pakistan’s Brick Kilns

  • Deliverable

    3D 360 for OculusGo & 8K Igloo Projection

  • My Role

    Edit, Stitch, Cleanup, Grade

  • Client

    BROOKE, Progress Films

  • Project Facilitator


  • Producer

    Richard Guy

  • Director

    Matt Hopkins

I delivered multiple variants of the 360 stereoscopic documentary, satisfying demands for UK and US audiences on Oculus Go and Igloo projection dome. The viewer experienced a privileged insight into the life of a brick kiln family in Pakistan and highlighting how BROOKE offer support in caring for their working animals.

Working for Visualise, in partnership with Progress Films, a crew filmed the family on location in Pakistan using the Kandao Obsidian R and GoPro Omni. I worked with director Matt Hopkins to develop the main 8-minute documentary for headset and projection. Based on an initial storyboard agreed with the end client, we cut together the project and worked with the locally spoken Urdu interviews to create the audio narration. Editing the narration proved challenging as we did not fully understand Urdu, so had to make edits based on tonal inclinations and pauses, working from a direct translation provided by the local charity team. I completed the base audio edit before delivering to Henrik Opperman to create a fully spacialised audio experience to complement the film.

Visually this project was challenging as working in stereoscopic means that any edits or patches have to be applied to both left and right eye, whilst also being correctly offset to match the convergence of the frames. As one of the key deliverables was for headset viewing, this had to take priority during the online, then from this completed stereoscopic film, I could then extract only one perspective for the monoscopic dome projection. Due to the shooting conditions, most shots have both a nadir patch for camera rigging, but also a sky exposure plate to ensure good looking skies. Extensive masking and colour grading were , therefore, necessary to make these elements fully match.

The whole film is spoken in Urdu but designed for English speaking audience, this meant that beyond using English graphics to head and tail the films, embedded captions were chosen to be the primary translating tool as a secondary voiceover in English would have distracted too far from the heartfelt narrative. Due to the engagement of each scene, we chose to duplicate the captions over 2 or 3 locations per scene to ensure that the viewer could freely explore points of interest whilst being able to follow the narrative. In addition to this, each caption had to be individually placed within the stereoscopic 3D scenes to ensure its convergence was correct for the surrounding objects. Working at full 8K, this proved to be challenging to achieve real-time playback to constantly review the placement of captions across the film.

Overall this was an extremely engaging project that really pushes my knowledge of stereoscopic 360 to achieve the best results. Bringing together the full 8-minute film into a virtual reality headset really proves for a touching and memorable experience, looking beyond my embedded captions and fully immersed in the story of the family.