This is part of a series from Camp 4 Collective. 360 video is a whole different animal to grade. Planning a workflow that will maintain the correct aspect and get everything back to its pixel for pixel location is thicker than I thought it'd be. You have to copy and paste each shot to double them up in the timeline, then reposition each doubled clip to see how the left and right edges are matching. Then you have to work from only one side at a time and any changes you make to one must be copied, pasted, and repositioned back to the right or left to continue adding new nodes to the "working" clip. It's thick. I've been learning a lot from these though and I wanted to at least show some of the kinds of things I've had to do to make a project like this match. It's one thing to match picture from camera to camera at a cut. It's something else completely to match 16 cameras together in the same composition. And on this particular rig every camera has to ride on auto settings so once you lock that down, it changes. Lots of keyframing. It's giving me superpowers though when it comes to going back to traditional framed composition cutting from one clip to another.