After the timing and the speed of walking were decided, they were finally ready to go. As filming began, the director donned the PlayStation VR headset underneath the stage. He checked how the image looked in PS VR in the same environment the user would experience.
They controlled crane cameras, checked the images with a VR headset, and watched the monitor. However, things stopped as soon as they began. Filming with the first camera finished successfully in one take! The director attributes this to her wonderful facial expressions. The shooting went well until the last scene, which was filmed with the high resolution degree camera. This song was also recorded from three angles with different cameras.
The director advised her that it would look better if she adjusted her movements and the angle of her face. Since the score division of the song is very unique, her rhythmic gestures would look nice in VR. This VR shoot adopted a one-cut method: when the song started, the camera would just keep moving around without cutting until the end.
In other words, if something went wrong, the entire thing would need to be filmed from scratch instead of re-shooting from the middle.
She looked forward with overflowing emotion, her face dipping into shadow when she dropped her eyes. Even the filming crew had to take a breath to steady themselves from the shiver this performance evoked in them.
The final shot continued using the different cameras and was also finished in one take. The filming of both songs for VR wrapped after about two hours. For that reason, we made sure everything — including the stages, lighting, direction, and costumes — was exactly the same as the live performances. Takahashi: The first camera was the one approaching and backing away from the subject.
As the camera slowly approaches, you enter the world of the stage. This is meant to evoke a sense of immersion. The second camera was for shooting Hikaru Utada three-dimensionally, by wrapping around her left and right. The last one was for shooting the subject from a far distance, a middle distance, and zoomed in at the same time.
Additionally, users can view the film however they wish by changing the camera angle. Takeishi: Yes, I was checking what the users would see. The videos you watch with the PS VR headset have a different impact after all — the user feels like Hikaru Utada is singing just for them. Takahashi: The biggest challenge was moving the camera. However, we experimented with moving the camera this time.
We decided to test a lot of things because we wanted users to watch unique, special VR videos. As a result, we thought that moving the camera while also having Hikaru Utada herself move or look at us would be innovative and challenging. Therefore, after cooperating with SIE on several tests, we thought it might work, so we decided to try something new. Additionally, we implemented 3D stereoscopic viewing with a binocular camera. This was another unique challenge.
However, if the camera moves fast, it can be uncomfortable for the user. We aimed for the fine line where users can only just see Hikaru Utada getting nearer, without causing any discomfort.
Takahashi: In past VR videos, the users themselves had to move to see what was happening on the whole stage. However, this time we are moving the camera, so if they just watch Hikaru Utada then all the stage sets come into view. Speaking of VR images, it is common to have a degree view. However, this content is not like that. Takeishi: You may think that VR video equals degree video, but I do not think it is necessarily the case. We challenged ourselves to make realistic images in the viewable range rather than making a degree video.
Looking back becomes a chore for the user. Rather than have them turn around, I thought that it would be more pleasing for fans if we focused on Hikaru Utada approaching or gave them a stereoscopic view. Takeishi: Hikaru Utada is amazing; the feeling she puts into her songs, her facial expressions when she sings, and her gestures. In virtual reality you can really see the great care singers put into their work and these subtleties of emotion up close.
VR users can experience much more than they would be able to just watching a concert or a music video, since they can see exactly what sort of expression the artist uses when singing certain lyrics.
Takahashi: You can see things that you cannot see normally, such as where the artist is looking or what gestures she is making.
Takeishi: I have been filming Hikaru Utada for a long time, but I was struck by her talent all over again during this VR shoot. I think that it would be interesting if VR video becomes the standard for artists — I felt great potential for that during this shoot. Did you like this? Like this. Great to see this getting a release outside of Japan!
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