Tag Archives: GoPro Fusion

Editing 360 video with Lenovo’s Explorer WMR headset

By Mike McCarthy

Microsoft has released its Windows Mixed Reality (WMR) platform as part of the Fall Creator’s Update to Windows 10. This platform allows users to experience a variety of immersive experiences, and thankfully there are now many WMR headsets available from many familiar names in the hardware business. One of those is from Lenovo who kindly sent me their Explorer WMR headset to test on my Thinkpad P71. This provided me with a complete VR experience on their hardware.

On November 15, Microsoft’s WMR released beta support for SteamVR on WMR devices. This allows WMR headsets to be used in applications that are compatible with SteamVR. For example, the newest release of Adobe Premiere Pro (CC 2018, or V.12.0) uses SteamVR for 360 video preview.

My goal for this article was to see if I could preview my 360 videos in a Lenovo headset while editing in Premiere, especially now that I had new 360 footage from my GoPro Fusion camera. I also provide some comparisons to the Oculus Rift which I reviewed for postPerspective in October.

There are a number of advantages to the WMR options, including lower prices and hardware requirements, higher image resolution and simpler setup. Oculus and HTC’s VR-Ready requirements have always been a bit excessive for 360 video, because unlike true 3D VR there is no 3D rendering involved when playing back footage from a fixed perspective. But would it work? No one seemed to know if it would, but Lenovo was willing to let me try.

The first step is to get your installation of Windows 10 upgraded with the Fall Creators Update. This includes integrated support for Windows Mixed Reality headsets. Once installed, you can plug in the single USB3 cable and HDMI port and Windows will automatically configure the device and its drivers for you. You will also need to install Valve’s Steam application and SteamVR, which adds support for VR content. The next step is to find Microsoft’s Windows Mixed Reality for SteamVR in the Steam store, which is a free installation. Once you confirm that the headset is functioning in WMR and then in SteamVR, open up Premiere Pro and test it out.

Working in Premiere Pro
Within Premiere Pro, preview and playback worked immediately within my existing immersive project. I watched footage captured with my Samsung Gear 360 and GoPro Fusion cameras. The files played, and the increased performance within the new version of the software is noticeable. My 4K and 5K 30fps content worked great, but my new 3Kp60 content only played when Mercury Playback was set to software-only, which disabled most of the new Immersive Video effects. In CUDA mode, I could hold down the right arrow and watch it progress in slow motion, but pressing the space bar caused the VR preview to freeze even though it played fine on the laptop monitor. The 60p content played fine in the Rift, so this appears to be an issue specific to WMR. Hopefully, that will be addressed in a software update in the near future.

The motion controllers were visible in the interface, and allow you to scrub the timeline, but I still had to use space-bar to start and stop playback. (Update: The 12.1 release of Premiere Pro support WMR headsets, and testing confirms that 60p now works, and the motion controllers are fully functional and can control playback.) One other issue that arose was that the mouse cursor is hidden when the display is snapped down into place over my eyes, which is an intrinsic feature of WMR. I had to tip it up out of the way every time I wanted to make a change, instead of just peeking under it, which is a lot of snapping up and down for the headset.

I found the WMR experience to be slightly less solid than the Oculus system. It would occasionally lag on the tracking for a couple of frames, causing the image to visibly jump. This may be due to the integrated tracking instead of dedicated external cameras. The boundary system is a visual distraction, so I would recommend disabling it if you are primarily using it for 360 video — because it doesn’t require moving much within your space. The setup on the WMR is better; it is much easier and has lower requirements and fewer ports needed. The resolution is higher than the Oculus Rift I had tested, (1440×1440 per eye instead of 1080×1200), so I wanted to see how much of a difference that would make. The Explorer also has a narrower field of view (105 degrees instead of 110), which I wouldn’t expect to make a difference, but I think it did.

By my calculations, the increased resolution should allow you to resolve a 5K sphere, compared to the 3.9K resolution available from the Rift — 1440pixels/105degrees*360 vs 1080pixels /110degrees*360. You will also want a pair of headphones or earbuds to plug into the headset so the audio tracks with your head (compared to your computer speakers, which are fixed).

The Feel of the Headset
The headset is designed very differently from the Rift, and the display can be tipped up out of the way while the headband is still on. It is also way easier to put on and remove, but a bit less comfortable to keep on for longer periods of time. The headband has to be on tight enough to hold the display in front of your eyes, since it doesn’t rest on your face, and the cabling has to slide through a clip on the headband when you fold the display upward. And since you have to fold the display upward to use the mouse, it is a frequent annoyance. But between the motion controllers and the keyboard, you can navigate and playback while the headset is on.

Using the Microsoft WMR lobby interface was an interesting experience, but I’m not sure if it’s going to catch on. SteamVR’s lobby experience isn’t much better, but Steam does offer a lot more content for its users. I anticipate Steam will be the dominant software platform based on the fact that most hardware vendors have support for it — HTC, Oculus, WMR. The fact that Adobe chose SteamVR to support their immersive preview experience is why these new WMR headsets work in Premiere Pro without any further software updates needed on their part. (Adobe doesn’t officially support this configuration yet, hence the “beta” designation in SteamVR, but besides 60p playback, I was very happy.) Hopefully we will only see further increased support and integration between the various hardware and software options in the future.

Summing Up
Currently, the Lenovo Explorer and the Oculus Rift are both priced the same at $399 — I say currently because prices have been fluctuating, so investigate thoroughly. So which one is better? Well, neither is a clear winner. Each has its own strengths. The Rift has more specific hardware requirements and lower total resolution. The Explorer requires Windows 10, but will work on a wider array of systems. The Rift is probably better for periods of extended use, while I would recommend the Explorer if you are going to be doing something that involves taking it on and off all the time (like tweaking effects settings in Adobe apps). Large fixed installations may offer a better user experience with the Rift or Vive on a powerful GPU, but most laptop users will probably have an easier time with the Explorer (no external camera to calibrate and fewer ports needed).


Mike McCarthy is an online editor/workflow consultant with 10 years of experience on feature films and commercials. He has been involved in pioneering new solutions for tapeless workflows, DSLR filmmaking and multi-screen and surround video experiences. Check out his site.

Review: GoPro Fusion 360 camera

By Mike McCarthy

I finally got the opportunity to try out the GoPro Fusion camera I have had my eye on since the company first revealed it in April. The $700 camera uses two offset fish-eye lenses to shoot 360 video and stills, while recording ambisonic audio from four microphones in the waterproof unit. It can shoot a 5K video sphere at 30fps, or a 3K sphere at 60fps for higher motion content at reduced resolution. It records dual 190-degree fish-eye perspectives encoded in H.264 to separate MicroSD cards, with four tracks of audio. The rest of the magic comes in the form of GoPro’s newest application Fusion Studio.

Internally, the unit is recording dual 45Mb H.264 files to two separate MicroSD cards, with accompanying audio and metadata assets. This would be a logistical challenge to deal with manually, copying the cards into folders, sorting and syncing them, stitching them together and dealing with the audio. But with GoPro’s new Fusion Studio app, most of this is taken care of for you. Simply plug-in the camera and it will automatically access the footage, and let you preview and select what parts of which clips you want processed into stitched 360 footage or flattened video files.

It also processes the multi-channel audio into ambisonic B-Format tracks, or standard stereo if desired. The app is a bit limited in user-control functionality, but what it does do it does very well. My main complaint is that I can’t find a way to manually set the output filename, but I can rename the exports in Windows once they have been rendered. Trying to process the same source file into multiple outputs is challenging for the same reason.

Setting Recorded Resolution (Per Lens) Processed Resolution (Equirectangular)
5Kp30 2704×2624 4992×2496
3Kp60 1568×1504 2880×1440
Stills 3104×3000 5760×2880

With the Samsung Gear 360, I researched five different ways to stitch the footage, because I wasn’t satisfied with the included app. Most of those will also work with Fusion footage, and you can read about those options here, but they aren’t really necessary when you have Fusion Studio.

You can choose between H.264, Cineform or ProRes, your equirectangular output resolution and ambisonic or stereo audio. That gives you pretty much every option you should need to process your footage. There is also a “Beta” option to stabilize your footage, which once I got used to it, I really liked. It should be thought of more as a “remove rotation” option since it’s not for stabilizing out sharp motions — which still leave motion blur — but for maintaining the viewer’s perspective even if the camera rotates in unexpected ways. Processing was about 6x run-time on my Lenovo Thinkpad P71 laptop, so a 10-minute clip would take an hour to stitch to 360.

The footage itself looks good, higher quality than my Gear 360, and the 60p stuff is much smoother, which is to be expected. While good VR experiences require 90fps to be rendered to the display to avoid motion sickness that does not necessarily mean that 30fps content is a problem. When rendering the viewer’s perspective, the same frame can be sampled three times, shifting the image as they move their head, even from a single source frame. That said, 60p source content does give smoother results than the 30p footage I am used to watching in VR, but 60p did give me more issues during editorial. I had to disable CUDA acceleration in Adobe Premiere Pro to get Transmit to work with the WMR headset.

Once you have your footage processed in Fusion Studio, it can be edited in Premiere Pro — like any other 360 footage — but the audio can be handled a bit differently. Exporting as stereo will follow the usual workflow, but selecting ambisonic will give you a special spatially aware audio file. Premiere can use this in a 4-track multi-channel sequence to line up the spatial audio with the direction you are looking in VR, and if exported correctly, YouTube can do the same thing for your viewers.

In the Trees
Most GoPro products are intended for use capturing action moments and unusual situations in extreme environments (which is why they are waterproof and fairly resilient), so I wanted to study the camera in its “native habitat.” The most extreme thing I do these days is work on ropes courses, high up in trees or telephone poles. So I took the camera out to a ropes course that I help out with, curious to see how the recording at height would translate into the 360 video experience.

Ropes courses are usually challenging to photograph because of the scale involved. When you are zoomed out far enough to see the entire element, you can’t see any detail, or if you are so zoomed in close enough to see faces, you have no good concept of how high up they are — 360 photography is helpful in that it is designed to be panned through when viewed flat. This allows you to give the viewer a better sense of the scale, and they can still see the details of the individual elements or people climbing. And in VR, you should have a better feel for the height involved.

I had the Fusion camera and Fusion Grip extendable tripod handle, as well as my Hero6 kit, which included an adhesive helmet mount. Since I was going to be working at heights and didn’t want to drop the camera, the first thing I did was rig up a tether system. A short piece of 2mm cord fit through a slot in the bottom of the center post and a triple fisherman knot made a secure loop. The cord fit out the bottom of the tripod when it was closed, allowing me to connect it to a shock-absorbing lanyard, which was clipped to my harness. This also allowed me to dangle the camera from a cord for a free-floating perspective. I also stuck the quick release base to my climbing helmet, and was ready to go.

I shot segments in both 30p and 60p, depending on how I had the camera mounted, using higher frame rates for the more dynamic shots. I was worried that the helmet mount would be too close, since GoPro recommends keeping the Fusion at least 20cm away from what it is filming, but the helmet wasn’t too bad. Another inch or two would shrink it significantly from the camera’s perspective, similar to my tripod issue with the Gear 360.

I always climbed up with the camera mounted on my helmet and then switched it to the Fusion Grip to record the guy climbing up behind me and my rappel. Hanging the camera from a cord, even 30-feet below me, worked much better than I expected. It put GoPro’s stabilization feature to the test, but it worked fantastically. With the camera rotating freely, the perspective is static, although you can see the seam lines constantly rotating around you. When I am holding the Fusion Grip, the extended pole is completely invisible to the camera, giving you what GoPro has dubbed “Angel View.” It is as if the viewer is floating freely next to the subject, especially when viewed in VR.

Because I have ways to view 360 video in VR, and because I don’t mind panning around on a flat screen view, I am less excited personally in GoPro’s OverCapture functionality, but I recognize it is a useful feature that will greater extend the use cases for this 360 camera. It is designed for people using the Fusion as a more flexible camera to produce flat content, instead of to produce VR content. I edited together a couple OverCapture shots intercut with footage from my regular Hero6 to demonstrate how that would work.

Ambisonic Audio
The other new option that Fusion brings to the table is ambisonic audio. Editing ambisonics works in Premiere Pro using a 4-track multi-channel sequence. The main workflow kink here is that you have to manually override the audio settings every time you import a new clip with ambisonic audio in order to set the audio channels to Adaptive with a single timeline clip. Turn on Monitor Ambisonics by right clicking in the monitor panel and match the Pan, Tilt, and Roll in the Panner-Ambisonics effect to the values in your VR Rotate Sphere effect (note that they are listed in a different order) and your audio should match the video perspective.

When exporting an MP4 in the audio panel, set Channels to 4.0 and check the Audio is Ambisonics box. From what I can see, the Fusion Studio conversion process compensates for changes in perspective, including “stabilization” when processing the raw recorded audio for Ambisonic exports, so you only have to match changes you make in your Premiere sequence.

While I could have intercut the footage at both settings together into a 5Kp60 timeline, I ended up creating two separate 360 videos. This also makes it clear to the viewer which shots were 5K/p30 and which were recorded at 3K/p60. They are both available on YouTube, and I recommend watching them in VR for the full effect. But be warned that they are recorded at heights up to 80 feet up, so it may be uncomfortable for some people to watch.

Summing Up
GoPro’s Fusion camera is not the first 360 camera on the market, but it brings more pixels and higher frame rates than most of its direct competitors, and more importantly it has the software package to assist users in the transition to processing 360 video footage. It also supports ambisonic audio and offers the OverCapture functionality for generating more traditional flat GoPro content.

I found it to be easier to mount and shoot with than my earlier 360 camera experiences, and it is far easier to get the footage ready to edit and view using GoPro’s Fusion Studio program. The Stabilize feature totally changes how I shoot 360 videos, giving me much more flexibility in rotating the camera during movements. And most importantly, I am much happier with the resulting footage that I get when shooting with it.


Mike McCarthy is an online editor/workflow consultant with 10 years of experience on feature films and commercials. He has been involved in pioneering new solutions for tapeless workflows, DSLR filmmaking and multi-screen and surround video experiences. Check out his site.

GoPro intros Hero6 and its first integrated 360 solution, Fusion

By Mike McCarthy

Last week, I traveled to San Francisco to attend GoPro’s launch event for its new Hero6 and Fusion cameras. The Hero6 is the next logical step in the company’s iteration of action cameras, increasing the supported frame rates to 4Kp60 and 1080p240, as well as adding integrated image stabilization. The Fusion on the other hand is a totally new product for them, an action-cam for 360-degree video. GoPro has developed a variety of other 360-degree video capture solutions in the past, based on rigs using many of their existing Hero cameras, but Fusion is their first integrated 360-video solution.

While the Hero6 is available immediately for $499, the Fusion is expected to ship in November for $699. While we got to see the Fusion and its footage, most of the hands-on aspects of the launch event revolved around the Hero6. Each of the attendees was provided a Hero6 kit to record the rest of the days events. My group was provided a ride on the RocketBoat through the San Francisco Bay. This adventure took advantage of a number of features of the camera, including the waterproofing, the slow motion and the image stabilization.

The Hero6

The big change within the Hero6 is the inclusion of GoPro’s new custom-designed GP1 image processing chip. This allows them to process and encode higher frame rates, and allows for image stabilization at many frame-rate settings. The camera itself is physically similar to the previous generations, so all of your existing mounts and rigs will still work with it. It is an easy swap out to upgrade the Karma drone with the new camera, which also got a few software improvements. It can now automatically track the controller with the camera to keep the user in the frame while the drone is following or stationary. It can also fly a circuit of 10 waypoints for repeatable shots, and overcoming a limitation I didn’t know existed, it can now look “up.”

There were fewer precise details about the Fusion. It is stated to be able to record a 5.2K video sphere at 30fps and a 3K sphere at 60fps. This is presumably the circumference of the sphere in pixels, and therefore the width of an equi-rectangular output. That would lead us to conclude that the individual fish-eye recording is about 2,600 pixels wide, plus a little overlap for the stitch. (In this article, GoPro’s David Newman details how the company arrives at 5.2K.)

GoPro Fusion for 360

The sensors are slightly laterally offset from one another, allowing the camera to be thinner and decreasing the parallax shift at the side seams, but adding a slight offset at the top and bottom seams. If the camera is oriented upright, those seams are the least important areas in most shots. They also appear to have a good solution for hiding the camera support pole within the stitch, based on the demo footage they were showing. It will be interesting to see what effect the Fusion camera has on the “culture” of 360 video. It is not the first affordable 360-degree camera, but it will definitely bring 360 capture to new places.

A big part of the equation for 360 video is the supporting software and the need to get the footage from the camera to the viewer in a usable way. GoPro already acquired Kolor’s Autopano Video Pro a few years ago to support image stitching for their larger 360 video camera rigs, so certain pieces of the underlying software ecosystem to support 360-video workflow are already in place. The desktop solution for processing the 360 footage will be called Fusion Studio, and is listed as coming soon on their website.

They have a pretty slick demonstration of flat image extraction from the video sphere, which they are marketing as “OverCapture.” This allows a cellphone to pan around the 360 sphere, which is pretty standard these days, but by recording that viewing in realtime they can output standard flat videos from the 360 sphere. This is a much simpler and more intuitive approach to virtual cinematography that trying to control the view with angles and keyframes in a desktop app.

This workflow should result in a very fish-eye flat video, similar to the more traditional GoPro shots, due to the similar lens characteristics. There are a variety of possible approaches to handling the fish-eye look. GoPro’s David Newman was explaining to me some of the solutions he has been working on to re-project GoPro footage into a sphere, to reframe or alter the field of view in a virtual environment. Based on their demo reel, it looks like they also have some interesting tools coming for using the unique functionality that 360 makes available to content creators, using various 360 projections for creative purposes within a flat video.

GoPro Software
On the software front, GoPro has also been developing tools to help its camera users process and share their footage. One of the inherent issues of action-camera footage is that there is basically no trigger discipline. You hit record long before anything happens, and then get back to the camera after the event in question is over. I used to get one-hour roll-outs that had 10 seconds of usable footage within them. The same is true when recording many attempts to do something before one of them succeeds.

Remote control of the recording process has helped with this a bit, but regardless you end up with tons of extra footage that you don’t need. GoPro is working on software tools that use AI and machine learning to sort through your footage and find the best parts automatically. The next logical step is to start cutting together the best shots, which is what Quikstories in their mobile app is beginning to do. As someone who edits video for a living, and is fairly particular and precise, I have a bit of trouble with the idea of using something like that for my videos, but for someone to whom the idea of “video editing” is intimidating, this could be a good place to start. And once the tools get to a point where their output can be trusted, automatically sorting footage could make even very serious editing a bit easier when there is a lot of potential material to get through. In the meantime though, I find their desktop tool Quik to be too limiting for my needs and will continue to use Premiere to edit my GoPro footage, which is the response I believe they expect of any professional user.

There are also a variety of new camera mount options available, including small extendable tripod handles in two lengths, as well as a unique “Bite Mount” (pictured, left) for POV shots. It includes a colorful padded float in case it pops out of your mouth while shooting in the water. The tripods are extra important for the forthcoming Fusion, to support the camera with minimal obstruction of the shot. And I wouldn’t recommend the using Fusion on the Bite Mount, unless you want a lot of head in the shot.

Ease of Use
Ironically, as someone who has processed and edited hundreds of hours of GoPro footage, and even worked for GoPro for a week on paper (as an NAB demo artist for Cineform during their acquisition), I don’t think I had ever actually used a GoPro camera. The fact that at this event we were all handed new cameras with zero instructions and expected to go out and shoot is a testament to how confident GoPro is that their products are easy to use. I didn’t have any difficulty with it, but the engineer within me wanted to know the details of the settings I was adjusting. Bouncing around with water hitting you in the face is not the best environment for learning how to do new things, but I was able to use pretty much every feature the camera had to offer during that ride with no prior experience. (Obviously I have extensive experience with video, just not with GoPro usage.) And I was pretty happy with the results. Now I want to take it sailing, skiing and other such places, just like a “normal” GoPro user.

I have pieced together a quick highlight video of the various features of the Hero6:


Mike McCarthy is an online editor/workflow consultant with 10 years of experience on feature films and commercials. He has been involved in pioneering new solutions for tapeless workflows, DSLR filmmaking and multi-screen and surround video experiences. Check out his site.