One the biggest limitation in VR/360 cinematography has been motion. The very nature of VR makes it difficult to explain that dude that’s always next to the camera when it moves. The solution: build a remote-controlled, wheeled robot into the base system. That’s just what VroomCam did.
The key was to make the movement feel as natural as human movement, to really sell the feeling of “being there.” This video explains how VroomCam have created both terrestrial and aerial systems that address exactly that.
Imagine having a better view than front row tickets while moving with the game. Nonstop.
Whether a game or a concert, get ready to experience locomotive virtual reality and augmented reality capture by being continuously next to the action through robotics and artificial intelligence. Combining our patent pending gesture replicating technology and light field camera-ready platform, VRoomCam is the world’s first automated and locomotive capture system for sports and entertainment. Goodbye dolly, cranes, jibs and tripods (fixed cameras lead to less than 1 minute viewer time and engagement, not to mention the stratospheric cost of setup and post-production nightmare).
About a year and a half ago I [Brian Bloss] got the idea to combine passion for time-lapse with my passion for aerial cinematography. When I started I had no idea what I was doing and what was possible. I have been waiting to release this until its perfect. I realized its never going to be as perfect as I want it to be. There were many challenges along the way and I learned allot. I know many people will ask how? I am not ready to dive into that quite yet. I am looking forward to doing to doing more lapses with higher wealth SLRs and the new generation of drones. This was shot with the DJI Phantom 3 Pro and the Phantom 4. I look forward to hearing what you think.
Have you seen what the Panasonic VariCam LT can produce at 5000 ISO. This has to be the new low light King of all cinema cameras. Maybe not capable in the darkest conditions as the Sony A7s, but certainly a much more practical solution for serious productions.
by Nino Leitner (website) | 14th April 2016 The #Sony#FS7 is a very popular #camera which comes in a shoulder-mount shape and form, straight out of the box, which often isn’t the case with #cameras that didn’t get the third party rigging treatment.
However, the built-in shoulder pad and handle aren’t perfect. The shoulder pad can’t be moved much to adjust for different balance points depending on the type of #lens you use – a movable baseplate with built-in shoulder rig is required. Many manufacturers, including Shape, have come up with great solutions. My current baseplate of choice is the #Zacuto Recoil baseplate for the FS7.
The handle is another story – while the shape of the #grip is actually perfect for #larger hands like mine, the handle itself has always felt like something that was built before the design was perfected. The two big issues: a thumbscrew to attach the angle of the handle is cumbersome to operate while you have the camera on your shoulder, and having to use a screwdriver for the adjustment of the length of the handle is a downright usability nightmare.
Canadian camera accessory maker Shape discovered this problem early on (and yes, this product has already been on the market for a while, but I just found it too good not to cover!). They made a replacement part for the upper part of the handle that gives you a push-button adjustment of the handle angle plus a thumbscrew for the length adjustment. And just like that, it becomes something you don’t want to miss from your FS7 ever again.
Livestream’s #Movi is a kind of pseudo-#multicam#camera, which creates the illusion of having multiple #cameras cover a music concert or any other event by utilizing smart software.
It’s definitely not a high-end professional product, but it comes in at a price point of only $399, and only $199 during its introductory period as a pre-order. Almost a no-brainer for the functionality it promises to have, cheaper than a #GoPro.
Of course it is in fact only one viewpoint, but its UHD (3840 x 2160 pixel) resolution allows the software to choose different parts of the image it’s recording and generate “fake” perspectives automatically. Initially there’s only an #iOS app that offers you to edit on-the-fly, also automatically detecting faces and “other points of interest”. You can do pseudo-pans and pseudo-zooms, all using your fingertips on the touchscreen.