The Changing Same is one of the most ambitious pieces of volumetric filmmaking yet since it combines all sorts of volumetric capture techniques with Scatter’s new Depthkit Studio multi-depth sensor set up, photogrammetry, and a fusion of rigged avatars and volumetric capture. It also has scenes with multiple captures, and new innovative spatial storytelling techniques like fusing multiple realities together, magical realism, a rich set of symbolic and visual metaphors, and using the spatial affordances of context to draw out similar archetypal patterns of oppression, systemic racism, and white supremacy that repeat throughout the course of history.
The Changing Same is the fourth production from Scatter (Clouds, Zero Days VR, & Blackout), and they continue to use these immersive storytelling pieces to innovate on their Depthkit volumetric capture solutions as well as content pipelines and workflows. Depthkit provides a democratizing impulse into volumetric capture by using a single or multiple commercially-available depth sensor cameras paired with a DSLR camera.
I had a chance to get more of the backstory The Changing Same and the exploration of the history racial terror in America by talking to creators Joe Brewster, Michèle Stephenson, and Yasmin Elayat. We talked about the backstory and evolution of this project, the struggles of funding independent and experimental works of volumetric filmmaking, and how they were exploring questions like What does an an American Pilgrimage look like? What is Magical Realism within context of The Changing Same? And what is the definition of Afrofuturism from an American perspective?
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