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    #41
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    https://www.youtube.com/watch?v=GqonaUTpDm4

    Komodo on the drone, and Gemini also in the mix.

    ...after reading parts of the BTS article, it appears most of the footage was shot on the Gemini, including much of the motorcycle rigging shots.
    Last edited by James0b57; 11-15-2020 at 11:09 AM.


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    #42
    Senior Member ahalpert's Avatar
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    RED CONTROL for Komodo is out - smartphone app wireless video and control over wifi

    https://www.newsshooter.com/2020/10/...video-control/

    Pretty cool!

    Someone on newsshooter commented that it has about a 3-frame lag. How do you guys feel about that? (Kubrick never would have tolerated that, haha.)
    www.VideoAbe.com

    "Captain, the most elementary and valuable statement in science, the beginning of wisdom, is 'I do not know.'" - Lt. Cmdr. Data


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    #43
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    Quote Originally Posted by ahalpert View Post
    RED CONTROL for Komodo is out - smartphone app wireless video and control over wifi.
    Someone on newsshooter commented that it has about a 3-frame lag. How do you guys feel about that? (Kubrick never would have tolerated that, haha.)
    3 frames of latency is actually pretty good for wi-fi monitoring on a phone. In order to transmit video over wi-fi network bandwidths typically requires some form of video compression, which would incur at least 1 frame of latency (for intraframe compression, more for interframe). And then wi-fi data transmission incurs some additional latency, usually around 2-6 ms depending on the wi-fi network. Then there is also usually a bit of processing and display latency on the mobile device end as well. So realistically, probably 1.5 to 2 frames is about the best you can do with this type of approach.

    For less latency, you'd typically need to use an uncompressed video output like SDI or HDMI. And a lot of cameras have a couple of frames of latency even over their physical video ports as well.

    The bigger question I would have is, what is the maximum video monitoring resolution possible for wi-fi transmission. The wi-fi monitoring apps on lot of cameras are often below HD resolution which can make it difficult for things like judging focus.


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    #44
    Senior Member Grug's Avatar
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    Quote Originally Posted by James0b57 View Post

    https://www.youtube.com/watch?v=GqonaUTpDm4

    Komodo on the drone, and Gemini also in the mix.
    Gotta have that 6k sensor for those 560p-resolving anamorphics (when shot wide-open)! :p


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    #45
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    Quote Originally Posted by Grug View Post
    Gotta have that 6k sensor for those 560p-resolving anamorphics (when shot wide-open)! :p
    Haha! Seriously!

    (I think they had a Laowa 12mm on the drone. )


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    #46
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    Quote Originally Posted by Grug View Post
    Gotta have that 6k sensor for those 560p-resolving anamorphics (when shot wide-open)! :p
    You wouldn't want to capture the fuzziness without enough resolution! It wouldn't be sharp!


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    #47
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    Quote Originally Posted by Tamerlin View Post
    You wouldn't want to capture the fuzziness without enough resolution! It wouldn't be sharp!
    To be honest, the Gemini 5K, which is likely the camera with the anamorphics, is not a "sharp" camera by today's standards. It does still by default have a bit of that "RED" edge to the contrast, which gives it a video feel, even with the softest roll off. I believe it is just difficult for any video camera to get good midtones, soft roll off, and clean shadows without at least 14 stops DR. Although, lighting certainly can fix that. (lighting? who does lighting? haha)

    With most cameras going to 5.7 or 6K, when shooting spherical, the Gemini has a softness. When shooting anamorphic, the sensor height and 3K vertical resolution mean it is resolving as much or more than some ~6K s35 cameras. Also, about 800 (~30%) more pixels that the Alexa, and about the same as the Alexa LF. So, when talking wide open Kaowa's, yeah, the Gemini ends up being overkill, but not by much, considering the options. But I would assume, that they used the Gemini for most of the anamorphic work, because it would be a larger sensor area and get more of a true anamorphic perspective.

    There is a whole article on the thing, but I didn't read the whole thing. I did see a sentence that mentioned the Gemini was used for most of the bike riggings shot, which surprised me. May have been due to the Gemini being better in low light, or them just not wanting to waste time rigging the Komodo for everything. But that was about the most interesting tidbit I got. The premise of the commercial is silly to me, as they are saying "F that" about the music, yet the music is so integral and important to the feel of this advert, that it really doesn't make sense. "F that symphony.... but let's also keep the music going, because the motorcycle sounds alone can't give you the feels....even though we're pretending it can....." I get that in reality, there are plenty of people that would prefer riding a bike than going to hear an orchestra, but it is still a some-what silly and contradictory commercial. Music is amazing, and it elevates this non-sensical piece. But advertising these days is certainly more about the feeling than the logic. And I have a hard time believing that an Italian motor company such as Ducati dislikes classical music.

    Main reason I posted it, was that drone shot. We have certainly entered a new era of drone work. We have the Komodo (global shutter), the A7s3(super low light shooting), freefly wave(High fps slomo), and the R5 (8K raw) to do some next level things with.
    Last edited by James0b57; 10-26-2020 at 01:13 PM.


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    #48
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    I want an electric bike with the V-12 sound piped in through the headphones.

    V-12 would have to be from a Daimler Benz 600-601-605 series for that extra oomph.


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    #49
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    Quote Originally Posted by DLD View Post
    I want an electric bike with the V-12 sound piped in through the headphones.

    V-12 would have to be from a Daimler Benz 600-601-605 series for that extra oomph.
    With a bit of classical music mixed in there for full feels.


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    #50
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    Reminds me of a Cirque du Soliel show we took Suzy's mom to a few years ago. Big circus ring style thrust stage with proscenium curtained off at the back. Long center ramp rising about 8 -10 feet to platform height behind the proscenium with side ramps rising up and offstage to the left and right sides of the platform and curtained entrances below the platforms.
    We were seated front row center at the front edge of the stage. Complete blackout.
    A motorcycle starts up off stage. Sounds big and loud as the rider blips the throttle and comes roaring down a side ramp across the stage and up the other side. All we can see are glistening chrome handle bars, the rider's white gloved hands, a bright headlight, a tail light. The rider stops, blips the throttle, turns back down the side ramp then turns down the center ramp at roaring full throttle and speed directly toward us getting closer and closer, faster and faster until we wonder if he can possibly stop in time when a bright spot light suddenly pops on, the sound disappears, and we are staring at a clown holding the handlebars frozen still in the light. No bike.


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