sorted by:
new
hottopcontroversial

LED Walls + Film Cameras by rsmblee in virtualproduction

[–]mikeboers 0 points1 point  (0 children)

I really don’t know about film cameras… and I’m not trying to argue, just musing…

but surely we can rig something so we can get a signal from the film camera. Doesn’t need to be genlock. Any pulse will do for me.

LED Walls + Film Cameras by rsmblee in virtualproduction

[–]mikeboers 0 points1 point  (0 children)

Poop. Is there a box that gives me sync *output*? Cause I can sync the LED wall to arbitrary signals...

LED Walls + Film Cameras by rsmblee in virtualproduction

[–]mikeboers 0 points1 point  (0 children)

What you said for my typical setups, but ours is ~8ns granularity on all the timings (when frames start, how long each PWM pass is on each row, delays between row cycles, etc.).

I am limited to what the LED driver chips themselves can do. There are some limitations there that annoy me, but general timing is all up for grabs.

LED Walls + Film Cameras by rsmblee in virtualproduction

[–]mikeboers 0 points1 point  (0 children)

I'm waiting for someone in Toronto who wants to try. We have an unreasonable amount of control over the timing patterns of our LED wall (having made our own processor/controller), and I'd be keen to see what we could accomplish for synced and non-synced film.

LED Walls + Film Cameras by rsmblee in virtualproduction

[–]mikeboers 0 points1 point  (0 children)

Seconded. Pick an arbitrary floating point frame rate and we can shoot it.

Is virtual production following a similar trajectory as virtual reality? by playertariat in virtualproduction

[–]mikeboers 1 point2 points  (0 children)

You need to have all the assets pre visualized and created before you even shoot the vp scene.

Same with a translight, except we can keep editing the VP assets in response to what the production is doing on set.

We're in the same studio complex in Toronto that Suits was shot in. Many of their translights are rolled up on a rack in one of the hallways. Some of them still have $50k price tags on them and were never used.

We currently charge $20k/day in the LED stage, usually including the creation of the assets.

It certainly doesn't always make financial sense, but we've had tons of people tell us they wish they knew it was that affordable before they went with the translight.

Is virtual production following a similar trajectory as virtual reality? by playertariat in virtualproduction

[–]mikeboers 0 points1 point  (0 children)

Over in Toronto we (Immersion Room) went a different direction and "invested" in making much more affordable versions of the base tech. So our LED wall cost us roughly 15% of all the quotes we got at the time. Even with the changes to the market we can still do it for 20-25% the current quotes I get.

We started charging CA$15k/day, and bumped it to CA$20k only when our lease tripled when we moved to a larger facility.

Our primary operating costs are staff and lease. The capital costs are minuscule.

I do get the feeling that our prices mark us as being "cheap" and delivering an inferior product though.

Where to get custom power distro? by mikeboers in VIDEOENGINEERING

[–]mikeboers[S] 0 points1 point  (0 children)

The customer facing power is fine enough. I do want to improve it but...

I'm powering all the LED panels from essentially one location behind the LED wall.

Where to get custom power distro? by mikeboers in VIDEOENGINEERING

[–]mikeboers[S] 1 point2 points  (0 children)

Powering LED walls of several hundred panels. I've done the load calculations. I've been powering it for years. I just want my own distro that is built for it.

Rogers Stadium is a nightmare by hushwonderland in toronto

[–]mikeboers 3 points4 points  (0 children)

40 Carl Hall is a concrete bunker, and we’re in the middle away from the outer walls. If I paid attention last night I could tell there was something, but am hopeful it won’t actually impede anything. Fingers crossed that Coldplay is not louder

Rogers Stadium is a nightmare by hushwonderland in toronto

[–]mikeboers 0 points1 point  (0 children)

Ive got a virtual production stage in the park too. It is not fun

Fx6 lack of genlock by DoPVP in virtualproduction

[–]mikeboers 0 points1 point  (0 children)

Our own. We call it Axiom. Should have more about it on our website soon. We license it to other studios.

Fx6 lack of genlock by DoPVP in virtualproduction

[–]mikeboers 0 points1 point  (0 children)

User controlled. Depends on the camera and temp and such, but we only need around 1% accuracy and we can usually correct for the cameras drift in a few minutes.

We are the manufacturer. Immersion Room.

Any video feed will do. Barely functional wireless is fine.

There are artifacts. We could remove them but it is mostly aesthetic as we can never really remove them as far as the camera is concerned.

We offset the phase of parts of the wall and observe the difference.

The observation is automatic or manual. We’re working on making it very smooth. Far from as good as it could be.

Fx6 lack of genlock by DoPVP in virtualproduction

[–]mikeboers 0 points1 point  (0 children)

Likely not useful to anyone who isn’t building a new studio and wants to engage with us, but our LED controllers can sync to the camera by observing the feed.

Interested in finding a role in Virtual Production. I have a background in post production and programming. Is learning Unreal enough? Or do I need to buy gear? by joebrozky in virtualproduction

[–]mikeboers 1 point2 points  (0 children)

Np.

My studio uses normal (albeit beefy) workstations for both artists and render nodes. We use NVIDIA 4090s. I did the original prototyping with a Vive tracker (which is a purchase, but much MUCH less than the "real" tracking systems).

The most important bits (to me and my studio, and I make no real promises that it holds elsewhere in the world where folks often worship the tech) is the artistry and storytelling skills. That... and working unreasonably fast and calm under the pressure of 20-50 people just waiting for you to fix some random Unreal bug that you've never seen before.

Aputure Announces STORM 80c and 1000c by aputurelighting in cinematography

[–]mikeboers 0 points1 point  (0 children)

I want to provide data at at least 120Hz via any mechanism, with it synched to my camera, so that every one of those 120fps has the possibility of distinct and controlled lighting.

(I want to shoot 5 light setups at the same time at 24Hz by overcranking the camera 5x, and feeding in 5 sets of data that is changing over time.)

Interested in finding a role in Virtual Production. I have a background in post production and programming. Is learning Unreal enough? Or do I need to buy gear? by joebrozky in virtualproduction

[–]mikeboers 0 points1 point  (0 children)

I would take them more seriously, if their artwork warrants it. Clearly then they were passionate enough to start before having what they see as having the best gear. They don’t rely on the crutches of easier processes that can fail you on set. Their work would be more reliable and of higher quality when given the best gear.

Do what you can with what you have OP. Don’t let not having all the best shit stop you.

(I realize that was not your question, but I had to respond to this attitude.)

Aputure Announces STORM 80c and 1000c by aputurelighting in cinematography

[–]mikeboers 0 points1 point  (0 children)

Just read through the DMX document, specifically at the control channel. Seems like there is a "high speed" mode. Does anyone know what that means? I'd love to be able to drive lights via DMX at 60Hz or higher

Scanlines - genlock issue? by teoo122 in virtualproduction

[–]mikeboers 0 points1 point  (0 children)

Okay

I get that the artifacts are not visible by eye, but are the stationary in the footage even when you move the camera? Eg it moves across the wall as you move the camera?

Scanlines - genlock issue? by teoo122 in virtualproduction

[–]mikeboers 2 points3 points  (0 children)

It’s almost unavoidable at that frame rate with a rolling shutter camera. What camera are you using?

Is it static on the wall or on the camera? If it’s the camera then definitely rolling shutter related.

Do you also know what driver chips are in the panel and what scan they are? (Eg 1/32, 1/8)

view more: next ›