VroomCam Add Motion and Stabilization to 360/VR/AR Cinematography

VroomCam Add Motion and Stabilization to 360/VR/AR Cinematography

VR Locomotion Solved

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).

For more info, check out the VroomCam website.

Affordable Shared Storage Solution for Video Editors

Affordable Shared Storage Solution for Video Editors

In 2016, The National Museum of African American History and Culture will be opening on the National Mall, in Washington, DC, right next to the Washington Monument.  I was honored to be hired by Black Robin Media as a DP and chief editor for a series of videos that will be part of several featured exhibits in the museum. This project has been a giant adventure, covering music, movies, TV, sports and many other aspects of Black life over the centuries. Our post production team consists of three editors working on three separate Mac based edit systems.  Because of a combination of ever-shifting delivery schedules and client approvals, we wanted to design a strategy that would allow each editor the ability to access any project at any time and pick up right where the last editor left off. We also wanted to be able to seamlessly work on all the projects from any of the three edit systems.

Our main challenge was to keep all three systems in sync and up-to-date at all times.  An ideal solution would be to employ a system likeEditShare or Avid Unity ISIS.  Even though we’re working in Adobe Creative Cloud, specifically CC, ISIS could have proved a powerful solution. and have collaborated to make it possible for Premiere Pro to take full advantage of the ISIS Shared Storage.  Sadly that solution was financially and technologically out of reach. A simpler and more affordable option would have been to employ a single network attached storage device like a Drobo, Synology orQ-Nap, as a central repository of media assets and project files, that all three edit systems could source from.  Unfortunately, the network connection in our offices is not reliable enough to sustain the data throughput necessary for smooth and efficient . Alternatively, we could have executed nightly back ups to a central NAS. That way, if one of us needed to pick up on a fellow editors project, we could just pull from the previous night’s backup.  While that is a workable solution, we feared the slow ramp-ups with all the file transfers and re-linking, not to mention the potential of getting out of sync with which version is the most recent – the one on the edit system or the one in the NAS.

The Solution – BitTorrent

Our team is a lean, effective and creative operation, as such, we were searching for the most efficient and cost-effective system that would allow any editor to work on any project, from any machine in the office at any time. (I know, that’s a lot of anys.)  Each edit system consisted of some variety of iMac or MacPro, with a 12TB Promise Technologies Pegasus 5 attached, running the latest versions of the Adobe Creative Cloud suite of applications. After exhaustive research, we decided on a product call, Sync by BitTorrent.

What is Sync?

Sync is a simple, fast and secure way to share and sync files, leveraging the of BitTorrent.

According to Wikipedia:

BitTorrent is a communications protocolfor the practice of peer-to-peer file sharingthat is used to distribute large amounts ofdata over the Internet. BitTorrent is one of the most common protocols for transferring large files, and peer-to-peer networks.

Yep, that’s right, this is the technology that powers all those pirate movie sharing services, but Sync has nothing to with that behavior.  What BitTorrent technology offers us with Sync is, it allows for virtually real-time syncing of all the data related to every project.  It’s sorta like an automated, shared cloud storage – without the need to actually store anything in the cloud.  So, as new data is created on one of our edit systems, that data is synced over the Internet to a mirrored project folder on the RAIDs attached to our other two edit systems.

Advantages

One of the advantages of BitTorrent technology is it’s blazing fast. Sync advertises its file transfers as 16 times faster than most cloud services. Along with that speed is that fact that the data transfer does not need to be contiguous. So if a large file transfer is interrupted by a power outage, network failure, or simply one of the other systems be rebooted, the transfer does not need to start again from the beginning. The data transfer picks up where it left off, the next time the network connection is reestablished. The really nice thing about all this is, none of this activity seems to have any negative impact on core system performance.

The advantages go far beyond being able to pick up and work on any project from anywhere. We’re also all able to easily access and use assets from any project, at any time. Since each edit system is working off its own directly connected RAID, There are no issues created due to network lag or congestion. And most important is the redundancy. Since the data syncing is happening virtually in real-time, each time a project is saved, a new file is created or a new piece of media is added – a copy (or backup) is synced to each of the other two system’s RAIDs.  There’s no worry of lost project data at any point in the process.

How Does It Work?

Sync’s user interface is very clean and intuitive. Once installed it’s as simple as identifying a folder to sync (share) and sharing the folder with teammates.  There is a key associated with each folder you choose to share.  You have the option of sharing that key link via email, copy and paste the key or via a QR code, which can be scanned with a mobile device. (Did I mention that Sync also works on mobile?)

Before sharing you also have the option to set permissions to a read/write for read-only mode. This is very handy for working with partners who may need to track the progress of the project but are not active contributors. Once the key link is received at the other end. The user simply clicks on the link to activate syncing.  If Sync is not already installed, the user is prompted to download and install the app.  Once installed, it’s just matter of pointing to where you want to store the synced/shared data and Sync starts the initial data transfer. It’s that simple.

Although we didn’t do it for this project, now that we have the system in place, it makes it much easier for us to work with collaborators at remote locations. We can easily share our projects with colorist, designers, composers, sound designers and of course, other editors.  They can have access to all the same assets that we have in the office and we all can collaborate effortlessly.

Cost

Did I forget to mention that everything described is in the free version of Sync?

The free version offers:

  • No file size limits
  • Unlimited number of folders
  • Sync across all mobile platforms

For $39.95, the Pro version offers:

  • All Free features +
  • Automatically add folders across all your devices
  • Save space with Selective Sync
  • Dynamically control access permissions

The needs of our project only scratched the surface of all that Sync offers. For more information about Sync visit https://www.getsync.com/

ikan’s Red Star Tungsten RS-F100, RS-F200 & RS-F350 LED Lights

ikan’s Red Star Tungsten RS-F100, RS-F200 & RS-F350 LED Lights

With robust features and cutting edge technology, ’s Star family of Fresnels is sure to make a great addition to any film set.

Designed for tungsten shooting conditions, these Fresnels are 3200 degrees and focusable from a 14-degree spot to a 50-degree flood angle.

Need to run multiple ? No problem with the Red Stars’ onboard DMX capabilities. Control and monitor both the DMX channel and brightness with an easy-to-read digital display.

A quiet, active cooling system helps draw heat away from the unit so there is no worry of overheating.

The four- and six-inch spherical Fresnels are made of dense, durable glass.

With heavy-duty, solid aluminum construction, Red Stars can withstand the most rugged working conditions.

Cut and shape your light with removable four-leaf barn doors and integrated scrim holder. Easily adjust from high to low brightness with a smooth-action dimming controller.

Going green is a plus with a 2.8 amp draw on the 350 and less than one amp on the 100. Three models offer 450, 650 or 1200 watts of equivalent output.

These tungsten Fresnels are versatile and perfect for bouncing or reflecting in any scenario. Use one as a background or rim light on a candlelit scene, or the complete set for your three-point lighting needs.

Deliver reliable and consistent performance with the Red Star series from Ikan.

Sourced through Scoop.it from: vimeo.com

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RedShark News – RED’s big surprise: the new 5K SCARLET-W

RedShark News – RED’s big surprise: the new 5K SCARLET-W

The new -W captures 5K at 60 frames per second, at 150 fps and 2K at 300 fps with REDCODE . recording is limited to 2K. The “BRAIN” is $9,950 and a complete package is around $14,500. (The RED RAVEN, for comparison starts at $5,950 for the BRAIN, and $9,750 for full packages.

So it seems that the new sits in between the WEAPON and the RAVEN, with the WEAPON offering even higher resolutions – effectively the top-end camera, and the RAVEN with it’s recently-upgraded-to-4.5K sensor being pitched and use with drones and motorised, stabilised gimbals (although not exclusively so).

Sourced through Scoop.it from: www.redsharknews.com

RED Press Release:

 

RED ANNOUNCES THE INDUSTRY-CHANGING 5K SCARLET-W CAMERA SCARLET-W, THE NEWEST ADDITION TO THE RED DRAGON® FAMILY, DEMONSTRATES RED’S ONGOING COMMITMENT TO MAKING SUPERIOR IMAGE QUALITY ACCESSIBLE TO PROFESSIONALS EVERYWHERE

IRVINE, CA – December 10, 2015. Today, RED Digital unveiled the latest addition to its line of professional , the SCARLET-W. Joining the RED RAVEN and WEAPON® in the latest generation of RED cameras, the SCARLET-W is a versatile, feature-rich, and intuitive option for professional shooters.

SCARLET-W offers a RED DRAGON sensor, interchangeable , simultaneous recording in REDCODE® RAW and Apple ProRes formats, an intelligent OLPF system, and in-camera outputs. At just $9,950 for the camera BRAIN® and $14,500 for the complete Base I/O V-Lock Package, SCARLET-W delivers unparalleled flexibility, accessibility and performance.

SCARLET-W captures 5K at 60 frames per second (fps), 4K at 150 fps, or 2K at 300 fps with REDCODE RAW; and its wide dynamic range produces cinema-quality images rich with natural color. SCARLET-W also offers an upgrade path to WEAPON and uses the DSMC2TM line of accessories— compatible with both RED RAVEN and WEAPON cameras—giving shooters the option to move between camera systems without having to purchase all new .

 

“When we began shipping the 4K RED ONE in 2007, it did nothing short of disrupting the camera industry with an unheard of blend of performance and price,” says Jarred Land, President of Red Digital Cinema. “And we are doing it again—meet the 5K SCARLET-W. It is a perfect storm of image quality, intuitive design, and accessibility."

 

SCARLET-W comes on the heels of the recent 4.5K RED RAVEN announcement, and is the latest example of RED’s ongoing commitment to the belief that cinema-quality creative tools should not be in the hands of a few—they should be available to a wide spectrum of content creators. RED RAVEN is RED’s most compact and lightweight camera priced at $5,950 for the BRAIN only, with full packages starting at $9,750. Customers that have placed RED RAVEN pre-orders can easily change to a SCARLET-W pre-order.

 

SCARLET-W is estimated to begin shipping in February 2016, and deposits will be accepted beginning today. Customers will be given a choice of purchasing the BRAIN only to build a kit that best fits their needs or choosing the SCARLET-W Base I/O V-Lock Package, which offers everything content creators need to start taking their productions to the next level.

1 | RED DIGITAL CINEMA

 

RED DIGITAL CINEMA 34 Parker | Irvine, CA 92618 | 949.206.7900 | Red.com ! SCARLET-W BRAIN ONLY – $9,950 – estimated to ship February 2016 ! SCARLET-W BASE I/O V-LOCK PACKAGE – $14,500 – estimated to ship March 2016 o Includes a SCARLET-W BRAIN, AI Mount, Base I/O V-Lock Battery Mount, RED MINI-MAG® 120GB, DSMC2 RED Touch 4.7” LCD, DSMC AC Adaptor, and DSMC2 Universal Handle.

See on Scoop.itGearJones – Digital Filmmaking Gear & Tips