Fulldome CG producers of traditional science material do often create a wide screen version from the fulldome, assuming a sweet spot N degrees up from the spring line. This can obviously be done since one generated (captured) easily enough of the visual field of view.

By I suggest that if one exploits the fulldome opportunities then creation of planar versions become less successful.

Good question. The subject of the next phase of the project! I think the key to a compelling experience might be a dynamic layout rather than trying to find one static composition that works. Lots of fun experimentation ahead…

> Did you use a normal HD camera to shoot the different people and ‘post-stitch’ it together for dome projection?

We used the iCinema Centre’s Spherecam

http://www.icinema.unsw.edu.au/projects/infra_spherecam_1.html

Following you on Vimeo! Thanks for link.

Assuming that the variation in dome theatres can be dealt with, I guess the next question is how to master a work for both dome and traditional screening simultaneously? ‘Porting’ content from one style screen to the other was the basis of my Avatar observation.

Are there any case studies where dome theatrical content was adapted from traditional cinematic work.

> In particular, there was a shot in one piece that I had observed during filming that didn’t work because of the lost subtly.

Interesting point. I’m not sure if you were referring to our piece but I definitely noticed this in our two-handed shot. I’m not entirely sure how you present an intimate moment between two people in domespace.