majoraxis

Hi Andrew, I’ll be the first to jump in. I’m happy to help with the out line of the movie if you would like to send me a link to your “virtual whiteboard”. Please let us know the terms of engagement. I suggest you create a platform to do what you are suggesting so that others can do what you have done - ask for others to collaborate. if you can figure out how to make it enjoyable and profitable to participate then I think others will make a go of it as well. Basically, create a secure pipline/model/portal/web community where people use their skills and where their interests align and have an expectation of revenue share if and when it succeeds.

Not the greatest test, but it looks like Unreal 5.0.0 early access runs on the M1 Max Mac Book Pro. There are some caveats for regarding Unreal 5 functionality on Mac OS, namely it currently does not support Nanite. From the Unreal forums I read that Lumen runs on Unreal 5 Preview 1, so things are moving in the right direction. Maybe with the release of the Mac Studio, Unreal will focus on support of the Mac Studio as it seems like it is going to be very popular... Heres' an overview of Lumen in Unreal 5: Here's an overview of Nanite (sounds like it is something everyone will want on Mac OS):

Anyone else wondering how well the Mac Studio will run Unreal for Virtual Production? I need a number of video outputs so it seems to be a good choice when it comes to outputting a lot of pixels. I could be wrong about its ability to use multiple usb 4 ports to display one large composite image…

Here's a website with lots of examples of Cooke's that are coated, uncoated front lens element and uncoated front and rear lens elements in side by side comparison shots. http://www.cookeminirentals.com/uncoated-elements I prefer the examples with coated lens elements, but I find nothing wrong with the look of a coated Cooke lens in the first place. I think they way to go is to find a lens that flares by the nature of its design (which could incorporate less than ideal lens coatings and lead to lens flares as well), thus a vintage zoom lens may be just what the doctor ordered.

@Gianluca that video was really impressive. From looking at the edge of the python key, it seems that there is a transition to the background at the edge so at times when the background of the subject video is similarly dark or light in color/lighting to background replacement video it is most convincing. Maybe If you lit your subject with a light from one side and had the background behind/on the other side of the subject darker then substitute a similarly lit and oriented virtual back ground, I believe you would have something that is even more seamless. Lighting your subject in anticipation of the background lighting you plan to use with the python script should look even better if you can get the real and the virtual back ground lighting to match closely. For my application, if I could get a projected background that was in sync with the camera and lens "position" with the replacement background synced in post with the camera movement in relation to the projected background then using the python keying script, be able to transition from real and virtual with as little give away as possible. My goal is to seamlessly transition from a subject shot on a minimal projected set to an infinite virtual set, which is compatible with traditional lighting and shooting techniques. I'm looking forward to what you come up with next!

@Gianluca Wow - the tracking looks so realistic, especially when the camera shakes! I love the last part where the camera twists and it looks like it tracked it perfectly. This is really getting good. Looking forward to seeing how you make this work with your a6300, how do you synchronize the tracking data from the phone (assuming you put it on top of the camera) with the video file created in the camera? I imagine the sync would have to be spot to keep that same level believability...

@BTM_Pix thanks for sharing your developments! Would it be possible to take the AFX focus information and automate the adjustment the amount of focus/defocus in real time of a projected background image (that is being captured along with the subject) based on the distance the subject is from the camera and the distance the screen is from the subject? If the camera is stationary then inputting a measurement for calibration should not be a problem (I assume), but if the camera is moving then some type proximity sensor array like the ones used for robot geofencing might do the trick. Seems like this would be the holy grail of make the subject and back ground seamlessly integrated for shooting scenes where the background projected image is close to the subject because we only have so much room in our living rooms or garages.

@Gianluca - Fantastic! I am wondering if it would be possible to film a virtual background behind the actor, say a 10' x 5' short through projected image and then extend the virtual back ground in sync with the computer generated projected background being recorded behind the actor. Kind of like in the screen grab from your video that reveals grass, house, bush and trampoline. If the physical back ground in this shot was the projected image behind the actor and the Minecraft extended background seamlessly blended with the small section of projected background being recorded along with the actor, that would super interesting to me, as I am putting together a projected background. I am hoping to combined the best of both worlds and I am wondering where that line is. Maybe there's still some benefits to shooting an actor with a cine lens on a projected background for aesthetic/artistic reasons? Maybe not? Thanks! (I hope it's OK that I took a screen grab of your video to illustrate my point. If not, please ask Andrew to remove it. That's of course find with me.)

This fantastic stuff! Very impressive quality with less production overhead. @Gianluca thanks for continuing to share your virtual production journey with us! @BTM_Pix is the concept of taking realtime focus motor and zoom motor position data from AFX and informing the virtual camera so that the background responds appropriately, viable? Thanks!

Who knows, maybe a few years ago Sony asked AP what type of specifications they would like and if that would be enough to make them switch from Canon. Maybe Sony, after doing their market research, listened and delivered what their customers wanted and now has an advantage in the market place because of it. Or maybe the system is corrupt, someone inside of AP is getting a kickback from Sony and wrote the bid to only allow for Sony products to be purchased.

Interesting web page format and content. Movie posters pair with the camera and lenses used as well as a brief description. It reminds me of a "quad chart" where an expected format makes information easy to consume by an audience with little time to waste. I love looking at information presented in this way.

When you say "I cleaned up the effect quite a bit", is that in reference to making the movement of the background more fluid? If so, if you could explain basic concept of how to you when from the back ground motion of BGTest to the smooth background motion of BGTest 2, that would be appreciated. Thanks!

Great topic! I have been researching projectors for just such an application. Here are some of my findings. 1. Laser projectors have better contrast ratios as compared to lamp based projectors, so Laser projector blacks are less grey and preferred. 2. Laser projectors have better color consistency and degrade predictably and uniformly over time and typically are good for 20,000 hours, so Laser is preferred over lamp as a projector light source. 3. You can damage your vision by looking into a laser projector lens (when it is on of course) so using a short throw projector that the subject stands so that the projector is behind them or rear projected is the safest configuration when shooting human or animals subjects etc. Some Laser projectors have proximity sensors and dim when an object gets too close to the lens, others do not. 4. DLP vs LCD. DLP can produce a rainbow effect when filming the projected image so LCD is preferred. 5. DLP vs LCD. LCD has better color brightness and saturation over DLP so LCD is preferred. 6. Home vs Commercial Projectors. Some commercial projectors offer "projection mapping" capabilities, which is a sophisticated means of combining the images of multiple projectors, blending the overlapping image edges and compensating for geometric issues as well as offering image calibration across multiple projectors. If you plan to use more than one projector to make a single large image, you will want commercial projectors with projection mapping capabilities. 7. Lens shift and throw distance. Short throw projectors seem to be designed with a narrow through distance range with limited (if at all) optical/physical lens shift capabilities. Many commercial grade projectors have removable lenses with remotely operated motorized lens shift, zoom and focus capabilities. For creative and projection mapping applications, a commercial projector with a detectable lens provides greater placement and screen size options. 8. "4k" projection . True 4k LCD Laser projectors are far more expensive than 4k enhanced LCD projectors that use LCD or DPL imaging element shifting to create the perception of about half the resolution of true 4k (like the LG Cinebeam or Epson LS500 do). Here's what a 3 LCD (1080px1200 native HD) ultra short throw Laser projector with 4000 lumens of light output looks list under trade show conditions front projected and rear projected. It is the Epson PowerLite 700U and Is about $1,400 refurbished. For those who would like to consider using multiple projectors and doing projection mapping, the Epson PowerLite L1100U (6000 Lumens and can take a 4k signal but does not do the 4k enhancement when projection mapping) would be a good entry point at about $2300each refurbished. Here's a video on how a room looks mapped with multiple projectors. I imagine an ALR (ambient light rejecting) screen would help in trying to achieve a useable ratio of screen light to subject light along with higher ISO cameras. @BTM_Pixsuch a great topic. Thank you! I will be following this thread closely.

Beautiful Cinematography! RED Komodo looking great! There is something special about slow motion shot with a global shutter (I assume).

If they increase the sensor size with 25% large photo sites (better lowlight and dynamic range?) they could potentially use virtually the same electronics and modify the hardware with larger ND window and larger throat to the sensor etc. to accommodate a full frame sensor. If they added on sensor electronic ND's, they could reengineer the lens mount accommodate shorter flange distance mounts like the RF and even micro 4/3. I would also like to see/hear 32 bit audio on their next URSA mini pro release. Then we would have pseudo RAW video and audio. One of the benefits of the BRAW architecture is that I can record 12k or 8k and if my computer has trouble playing it back, I can down sample it to 4k or 2k on the fly and it will play back fined without having to make a proxy. USB-C connection to NVMe M.2 makes this workflow possible and affordable. These drives are so fast and currently on sale for about the same price as a 2.5" SSD drive. Seems like Blackmagic has solved most of the problem at the same time. Affordable high performance storage via USB-C. Scaleable RAW like codec for high resolution low band acquisition. Architecture to support for scaleable playback without transcoding. Editing environment to support BRAW. Cinema camera from factor with professional connection the XLR, SDI, PL Mount and B4 mount and lens connection, view finder option, time code. So what are they missing? Full frame? World class auto focus? Electronic ND? RF mount? 32-bit audio? Better dynamic range? Better low light? Selling their own lenses and lighting so that they can offer end to end solutions and support. Renting and loaning their own cameras, lenses, lighting, editing workstations at a discount in markets they want to enter. Provide local support offices in every major market so they can personally fix any problem that may arise. Provide workflow case studies so that productions can justify adoption. "Acquire" name brand endorsers. Focus efforts to be listed as being shot on for award winning productions. Charge 5 to 10 times as much to pay for market dominating infrastructure and accusation. As someone who wants to continue to be able to afford Blackmagic cinema products, I hope they continue to grow organically (like Aputure) into professional markets rather that build the infrastructure and acquire the adjacent product lines to try and dominate the professional market by force of will. With a better economy Blackmagic probably would not have had to lower the price of the 12k to get it to sell, but I'm glad they did because, if not I would not be able to justify purchasing in one (used). Thanks Blackmagic! Your approach is just right. Steady as she goes Captain Petty, steady as she goes. Regardless of the price drop and how many 12k are selling, the Blackmagic URSA Mini Pro 12k is the King of Affordable Professional Cinema Cameras.

The USRA Mini Pro 12k with Camera Update 7.7 promises improved performance including: Improved color balance. Improved demosaic for better shadow detail MTF. Improved demosaic to reduce moire effects on fine patterns. USB-C connection improvements. Improved compatibility with ExAscend U.2 disks on URSA Mini Recorder. Here's a link to the press release: https://www.blackmagicdesign.com/media/release/20211220-01 Not bad considering that you can now get them used for $5k. Thanks for continuing to invest Blackmagic, the 12k is my next camera for sure! Does this mean I do not need to purchase the RAWLITE Optical Low Pass Filter? I hope so...

The great low light sensor of USRA Broadcast G2 makes using/adapting B4 lenses react to lighting conditions as you would expect a cenima camera with a sensor with average lowlight capabilities to perform, and it's not a bad thing, in fact having net "average" low light performance for adapted B4 lenses in a professional camera body is a fantastic improvement. 1. The Blackmagic 4K Broadcast Lens adapter loses at least a stop of light when expanding the 2/3 inch image circle to make it large enough to cover the 4k sensor crop of the 6k sensor. 2. Depending on B4 lens, stopping it down can increase resolving power, increase contrast and allows for easier focus following for shooting action scenes, which may be preferred as compared to shooting it wide open. 3. When zoom on some B4 lenses, you may lose part of a stop of light to a stop of light at the long end as only some are constant aperture when zooming through the entire zoom range. If you start with it stopped down on some B4 zoom lenses, you can achieve a constant aperture when you zoom through the entire zoom range, but at a the cost of some light loss and you decrease the depth of field, which may be a benefit at the long end of the zoom lens to allow easier focus acquisation. 4. If you have and engage the 2x extender on your Broadcast B4 Zoom lens, it doubles to focal length and you will lose 2 stops of light for enabling this capability. So, starting at f1.9 wide open on B4 zoom lens at the wide end, then expanding the 2/3 image with the 4k Broadcast Lens Adapter (included with the Broadcast G2) to cover the 4k sensor sensor crop, you are at f2.8. If you stop it down for constant aperture and/or better resolution and contrast, you are at f3.9. If you engage the 2x extender on top of the above, you are at f7.8 ...and you have a fantastic image that looks like it was shot on a cinema camera with a sensor with average low light capabilities, plus you experience the creative freedom that a B4 zoom lens can provide.

6K Super35 CMOS Sensor, Dual Native ISO (helps when expanding the B4 image and losing a some amount of stops of light to cover the 4k crop of the sensor) 2/3" B4 Lens Mount & Active EF Mount 6K Blackmagic RAW Recording Records to ProRes H.265/264 (10bit 4.2.2 - Grant is call it H.265 SDI because of the higher specification) 12G-SDI Input & Output, Genlock/Timecode (Built-In Timecode Generator) 13 x Stops of Dynamic Range 2 x UHS-II SD, 2 x CFast 2.0 Slots (Dual Media Slots for Nonstop Recording) Built-In 2/4/6-Stop ND Filters XLR Inputs, 3.5mm Audio Output ProRes Recording up to 1080p120 USB Type-C for Recording Direct to External Media Disk Control Broadcast B4 Lens zoom and focus the through camera or remote over the internet via Blackmagic ecosystem. Includes Mini Shoulder Pad Includes Mini Top Handle Includes V-Mount Battery Plate Included DaVinci Resolve Studio Can stream via smart phone over the internet to (you tube etc) or to the Blackmagic ecosystem (camera, lens and coloring remote control via the internet possible). Can record simultaneously the video the is being feed to the stream at a hight codec simultaneously (future free software update) https://www.blackmagicdesign.com/media/video/645038552

I have an old P+S Technik Pro 35 PL to B4 P+S Image Converter that projects the lens image on to a vibrating screen to be picked up the a 3-CCD B4 camera sensor. I saw that at one time they sold a version that could work with an iPhone. I was researching if I could convert the Pro 35 adapter for iPhone and found the Pro 35 manual on line. I was not able figure out how to make it work with an iPhone but I did come across what they P+S Technik felt contributed to look of film which I thought might add to the discuss about what make something "cinematic". Film-Look: Which elements are important? Framerate: Film works only with complete pictures, that means progressive with 24 or 25 Hz. Television systems work currently for the most part with half pictures (interlaced), that means with 50 or 60 Hz.The higher the frame rate, the higher is also the motion resolution. A football game with "only" 24 Hz would not be as informative for the viewer as football game with 50 Hz. Exposure time: The common shutter speed result for film cameras result normally from the frame rate. This is mostly 1/48 s., 1/50 s. or 1/60 s., some applications request a shorter exposure time. Electronic cameras work generally in the same manner, but the consolidation between frame rate and exposure time is not as steep. This means at for example 60 frames per second there is also a longer exposure time possible (up to 360 degrees Hell sector = 1/60 s.) Motion blur: One characteristic of the so called film look is the motion blur. Low frame rate / long exposure time lead to a higher motion blur compared to television - benefit from this creative tool. Shutter effect / strobing: Is your pan jerky? Probably your pan velocity is not adjusted to your frame rate (and your motion blur). Check the pan velocity against the focal distance, e. g. in the manual of the ASC (American Society of Cinematographers). Also newer monitors show the pictures often "jerky". Chose your equipment accordingly to your reporting (TV/cinema) and your method of recording (interlaced/progressive). Method of recording: INTERLACED is still a widespread method for increasing the motion resolution (50/60 Hz). Use this method creatively, e. g. for a later slow motion (Example: convert 50/60 Hz interlaced to 50/60 Hz progressive, afterwards rendering with 24/25 frames/s.). De-interlaced is often used for the printout. PROGRESSIVE is used for printing out the material; this is often more close to the film look, because of a lower motion resolution (24/25 Hz). Compression: Unfortunately, the recording quality is highly dependent on the format of recording. A lot of today's used data compression programs are for example highly sensitive to noise or quickly changing picture contents. While recording do not only trust your picture on the monitor (it shows often the uncompressed signal), but test how the recorded signal is behaving in different recording situations (see also: TARGET SPEED above). Depth of field: Like the human eye has a selective perception, also filmmakers and cinematographers use the depth of field for calling the attention of the viewer to specific things or also to detract from something. At the same time the effective size of the picture plays an important part: The larger it is, the lower is the depth of field; small amateur cameras work often with very small sensors and that's why their picture comes across as unnaturally sharp. The P+S Technik Image Converter allow now the identical depth of fi eld like in 35 mm film on an electronic camera with a considerably smaller size of the sensor. Choice of lens: The choice of lens is - especially in combination with high-resolution cameras - clearly visible. Therefore, test the lenses before shooting! See a list with applicable lenses in the annex. Aspect ratio: Because of the fact that the human eye has a considerably larger horizontal fi eld of vision than a vertical one, a lot of films used already very early an analogous larger aspect ratio for achieving an impressively large screen projection (Example: Cinemascope). Like this a different visual effect is produced for the viewer only because of the picture size.

If SSL is a model of what may come, they will leverage their good name to sell large amounts of lower priced prosumer products while still trying to service their high end markets.

Slow-motion: 4K Super 16 up to 240 fps (UMP12k) vs UHD Windowed - Up to 150 fps (UMP4.6kG2) Price: UMP12k is $245 cheaper if you only need a PL mount as it come a standard with the UMP12k Color: When down sampling 12k BRAW in Resolve to 4k you wind up with 4:4:4 color. Sensor Size: Wider Sensor is larger on the UMP12k is 27.03mm x 14.25mm vs 25.34mm x 14.25mm UMP4.6KG2 (seems weird to me but that is what Black Magic's website says.) So not a lot of reasons to upgrade the 4.6KG2 to the 12k. No reasons to not purchase the 12ks over the 4.6kG2 if your are purchasing new as your primary camera. I imagine they are selling mostly 12ks unless a production that already has 4.6ks wants the cameras to match exactly.

@Andrew Reid I check EOSHD daily as it is one my "homes/destinations" on the internet. I am appreciative of you and the like minded people who choose to gather here to help each other work through our creative pursuits. The thing that will be missing without you here is your articulate visionary "call it like it is" expression of deeper truths. I will follow you to your next passion destination (if you choose to let EOSHD go) because I enjoying being required to look deeper into the inner workings of the machine, both literally and figuratively. I wish you all best in your decision making process.

The iPhone might not be idea for Cinematic mode, but the large touch screen of the iPad, if it gets these same features, could be a great product for shooting reviews, interviews, bloggers, corporate videos, anything you don't have a budget for. Why not fly an iPad around the room and touch what you want to focus on. It could look good and not cost a lot especially if you edit on the iPad as well... if the low light continue to improve there may be other reasons to shoot on Apple.

Based on the CimeD's test indicating more than 1/2 stop worse perform in dynamic range as compared to the URSA Mini Pro 4.6k G2, it seems that the 12k will still find Cinematographers preferring it in the following situations. 1. Golden Hour shooting where contrast is probably relatively low and color and skin tones are saturated with lots amber and red tones. 2. Green screen shooting the where resolution and color fidelity are top priorities and worth trading for a little dynamic range for. 3. Lower contract studio shooting environments, where skin tone are a top priority. 4. Slow motion applications where resolution and color fidelity maybe worth trading a little dynamic range for. Because I shoot mostly indoors, with controlled lighting and vintage lens, I would still rather have the URSA Mini Pro 12k over my USRA Mini Pro 4.6k G1 even at the cost of a little dynamic range and a significant amount money. My lens are mostly adapted B4 lenses, which play nicely with the super 16 cropped 4k slow-motion 240 fps mode so I am biased towards my shooting environment and desire for the extra resolution and color fidelity the 12k provides. If I was a run and gun shooter, I would seriously look the Pocket 6k as it's image quality is more than good enough for most applications.

Here's a comparison between the BMPCC6K vs Blackmagic URSA Mini Pro 12K... The video does a good job of showing the difference in: Color rendering. Dynamic range. Noise. Field of view. Is one better than the other? That depends on the applications and your image priorities. The new sensor tech produces better color rendering and dynamic range. The BMPCC6k has a lower noise floor and is better in low light. Field of view goes to the 12k with a 1.3x crop factor. It makes sense to add LiDar auto focus to each (CDA-Tek AFX). Both the BMPCC6K vs Blackmagic Ursa Mini Pro 12K are now priced correctly based on their value, especially if you wait a little bit and get the URSA Mini Pro 12K as an open box or used. Where does it leave the USRA Mini Pro 4.6k G2... selling at a discount in the future as retailers get rid of remaining stock. I hope this makes way for Blackmagic to release a $4k box camera with the new sensor tech at maybe an 8k max resolution and whatever other limitations are needed to be in place to hit that price point. That would make flying the new sensor tech on a gimbal easier. That would be an great product line up!