1stPERSONTECH

INVENTING NEW MEDIA

Archive for the month “April, 2012”

BITS, BYTES & DEMYSTIFYING CAMERA SPECS

To be completed soon…

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RAW EVERYTHING

RAW CAMERAS HAVE NO LOSSY COMPRESSION

RAW FOOD HAS NO LOSSY PROCESSING

 

To be completed soon…

UNDERWATER 360 TESTS

The icci360 bods at Plymouth University are remaking their underwater camera with GO PRO HD HEROS – the reason for this is they have wider lenses(170 or 127 degrees)

This helps because as soon as you put a camera under water the millimetre measurement of the lens is no longer relavent due to the refraction of light through water… here are some images to illustrate how refraction works…

This is what as known as the angle of incident – where the light changes angle through the different substance…

And so starting wider allows their to be less blind spots for the dome projection – where the 5 images need to edge blend into one another

However another issue with the GOPRO HD HERO 2 is that the image goes soft with it’s curved lens underwater – so people have been experimenting with adapting the lens flatter for a much sharper image…

The other reason for using the GO PROS is that they now have a synch cable – meaning one button can switch them all on at once – allowing a bank of the things to be used together to get bullettime footage out in the water – as done for these surfing commericals

360 POST WORKFLOW – MODERN CINERAMA

So I am making a film to be screened in this thing…

And as if 360 cinerama wasn’t a gimmick enough – I plan to give my a narrative structure and do a lot of underwater panoramic… I was planning at creating a rig from GO PRO HD HERO 2’s – but it appears the commissioners at icci360  have already got one that I may be able to blag!

Got a lot of tech info at Plymouth University today as to image alignment and post workflow to make this thing work – now it’s just a case to forget the fact there is all this new technology and remember to figure out what the story is…

EXPLAINING MODULAR TRANSFORM FUNCTION (MTF)

MTF – Modular Transform function – sounds more complicated than it is and is something any one involved in the workflow of film should get their heads around!

Modular means in bits – like the modules for subjects being broken down rather than all in one go…

Transform – in context describes the flow from one of these modules to another

Function – the way it operates

So ultimately what we are looking at is a workflow – this could be anything from a factory line to filmmaking to an episode of Total Wipeout (or any challenge based gameshow)

In fact lets keep going with Total Wipeout…

If the thing we are measuring is contestants and the modules are each assault course/challenge then the MTF of the whole thing is 1. Only 1 contestant gets through – they start with 24… but even if you put 300 contestants at the beginning (like they do in Takeshi’s Castle) you would still only get 1 out of it as the final challenge only allows 1 to come through at the end.

If that final challenge was put at the start or in the middle of the show their would still be only 1 contestant.

This is the main concept of MTF that the bit that allows the least through – will always be the maximum you can get out at the end…

So with digital cinematography cameras what are the modules…

  • Light from sun to object
  • Object to whatever may be in front of the lens (matte box)
  • Lens
  • Lens to Sensor
  • Sensor
  • Sensor to compression
  • Compression to connecting to storage device
  • Storage device’s read and write speed
  • The compression of data to usable rushes
  • Rushes into post workflow software’s architecture
  • Final cut format
  • Distribution format
  • Projector light
  • Light from screen to Human eye
  • Human eye to brain

So let’s put this in an extreme way – you shoot on an imax camera 72mm format – really take care to have as little loss all the way along – then your masterpiece is screened only once to a bunch of blind people… MTF 0

Only the sound got through – so knowing that bit may as well made radio

Or more realistically – you shoot on a RED at 4k resolution with great lenses – your post workflow caters for 4k – your short film then only goes through a 2k projector at a few festivals and then goes on youtube at 720p…

Your project is only ever going to look as good as the weakest part of the chain – so make sure you think of that as DP when considering quality control of your image – as ultimately it is your brain trying to maintain a concept through this incredible but convoluted process all the way to the brains at the other end – here is a diagram I did…

Due to the fact that you are always losing just in the process of going from beginning to end regardless – there is a theory that you should always try and start off with double to get half out… so if you are aiming for a true 4K resolution really you would need all the bits to be shooting 8K to have that true unlossed quality of 4k at the end…

Also – people who really know how to measure this stuff even consider the loss of bandwiths of light in the suns spectrum as it goes through gases that slightly filter it before it gets to earth… this might get to a stage where it is beyond practical – but the main thing to remember is your weakest part in the workflow is the max you will be getting through at the other mind you want to share your vision with!

INTERACTIVE FILMMAKING

To be completed soon…

3D PRINTERS

The imagined – to the virtual – to the material

To be completed soon…

OSCILLOSCOPES – AND A BRIEF INTRODUCTION TO ELECTRICTY

So I was kindly donated an oscilloscope the other day – a funky little analogue device that looks like it might be used for busting ghosts…

Turns out it is actually a nifty gadget for measuring voltage – creating a changeable line on the graph for DC and AC to get accurate readings.

DC gives you a flatline with it’s steady constant flow – AC gives you various – & + curves as it alternates back and fourth – but where it gets real trippy is music – where it becomes an oldschool audio visualiser

This is all to do with the fast flow of electricity (usually reading points at 48,000 times per second) to pull the magnets in a cone to create a push of air imitating the sound it original recorded – so I get the sound element of it to some degree, but the gap in my knowledge is – well – what’s electricity?

While we’re on old school – here’s some classy education to start me from the ground up…

WAVELET TRANSFORM & DISCRETE COSINE TRANSFORM

to be completed soon…

EARLY SOUND RECORDING

So far, like all bad filmmakers, I have neglected sound a lot… The truth is audiences are happier watch bad visuals with great audio than vice versa.

Here is the first ever recorded sound – someone signing Au Clair De La Lune:

Edouard Leon Scott de Martinville recorded this with his invention, the phonautograph – a device which drew a line attached to a membrane that vibrated from sound waves, by drawing the movement of the sound it was able to be reproduced by scratching the markings into a material that could then reverse the process and move a diaphragm recreating the noise, then amplified by a large cone that bounces the sound waves along making them bigger

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