Q: Roughly what percentage of LED stage shots just get roto work later? From that percentage, how many could have saved themselves on set from doing roto later if the frustum had simply been switched to green for that shot?

Lol, nice outro.

how much is your LED wall to build?

Saving to multiple is good you right

king light quality

Excited to see the final. So FYI your tracking system alone is $5K+. Getting to use that for free is not realistic for almost everyone, so doesn't that go against the spirit and goal of making a $5-10K relatable and achievable VP shoot? Perhaps you can use something like an iPhone mounted to your cinema camera for the tracking (Jetset Cine) and switch to a green screen. You can still have realtime VP and a live composite for everyone on set but will get around all the costly requirements related to genlock. It would be a True sub $10k shoot.

how much was you LED wall??

Hey guys! Love the content. But you may wanna re upload with higher audio levels. It’s a lil quiet.

How get it ?

It’s more than a 3d camera. Can’t say much but it’s going to be cool

You two sound like two cheer leaders.

We're you part of some special group chat?

can we please know how much your wall costs to build?? Why are you refusing to give that piece of information? Why would you hide that on a channel devoted to education others on doing their own VP??

Very interested in your budget amount on volume cost. That's a bit hard to find out.

two years of AI hype and zero advances in mocap.

For me, a 'One' is like an old Muppet Movie, where you know it's fake. The muppets are on the screen the whole time. The humans are usually comically over-acting. You can't really suspend belief enough to buy it as a window into another reality. You go in understanding it's not going to feel real. You accept that. And that way you are doing a lot of the work for the production team in your own mind and heart.

Oooh! As a filmmaker, this project looks awesome, can't wait to see what you use it for in the film! Thanks for the video! Dropping you a like!!

lol

want more video like this......

cool

Hey there! What a cool project!! Subbed! Looking forward to what you come up with!

2 minutes in and im out . im sure yall might say ome good stuff but dragging this chat out is a bit hard to get through

Where did you all get that top cheese plate tho??! Asking for a friend

Yes 😂

If you're trying to pitch/sell something, give a definition... L video

I didn't think I would find this video when I searched for it. But here it is. Bravo ! 👏

I love the Canon RF dual fisheye lens for creating VR content with the R5.

Your video is unwatchable due to all the plosives in the audio. Either don't eat the mic when you speak or look into some pop filters and use them properly.

Bad drifting legs that’s where all these ai fails. That’s where studio production high paid gadgets come in. Good for indie people but still not a solution.

Now that your videos are being recommended I saw you were going to talk about the new BMD URSA Cine Immersive. However, you guys didn't really do your proper research. This seems to be a trend from the last few videos. One, you guys do need to do your research on Stereoscopic 3D and its history in the industry. There has been a trend since the 1920s for 3D to come back every 30-years. Sort of like Pennywise the Clown. So it came back in the 1950s, and wasn't working too well. It reemerged in the 1980s, and again didn't work out too well. Then it came back in the late 2000s into the 2010s and had a better lifespan, but still died out. All of these decades brought technological improvements that kept improving it. But challenges always seem to drive it back to a more niche style of filmmaking. Breaking from the 30-year cycle the new Apple Vision Pro may potentially bring it back in the form of VR. This is a more perfect delivery method for Stereo 3D, but is certainly more expensive at the moment. Yet, the delivery method works the best of all previous technologies due to dedicated images per eye. This is superior to the Shutter Glass technology for 3DTVs in the early 2010s. Side note, we haven't used Anaglyph glasses since the 1980s when the first polarized glasses projector systems started to be implemented. Throughout the 2000s and 2010s the polarized projection and glasses system was the primary distribution method for Stereoscopic 3D movies, and some 3DTVs utilized the passive glasses technology of polarized glasses. So, let's move on to the URSA Cine Immersive. Well, this clearly uses the newly announced URSA Cine body that will be used for the 12K and 65mm 17K sensors. Those antennae that you were noting are primarily for the Wi-Fi added to the cameras for Blackmagic Cloud. Blackmagic has not stated whether they will give a live wireless video signal while shooting for wireless monitoring. It is primarily for the BRAW and/or Proxy files to upload to Blackmagic Cloud directly from the camera if connected to WiFi. You can also connect your phone as the WiFi hub in order to upload via your Cellular LTE Network. But the WiFi is primarily for that purpose at this time. You can also connect a computer for offloading the footage to a drive via WiFi at the end of the day, or use the Ethernet or USB-C connectors. I'd suggest looking up more details on the URSA Cine, and before jumping into a video to just guess and talk without having done proper research I would say learn all you can. A lot of discussion is already happening on the BMD Forums. However, with the URSA Cine Immersive it is clear that the dual lens system is recording each image coming into the lens into its own sensor. Each sensor is an 8K sensor and each sensor is capturing up to 90 FPS. These Left and Right Eye images are then recorded by the camera into a single Blackmagic RAW file that has the metadata stored to be read by the updated DaVinci Resolve for working in Stereo 3D in the edit. There you can further make corrections and such. However, what is still not fully known is whether the lenses and sensors are truly fixed in terms of interocular distance. I would venture to guess that they are. This will limit the distance that objects/people can get close to the camera. One of the flaws of Side-by-Side Stereo 3D shooting. This is what hurt Alfred Hitchcock when he made Dial M for Murder in 1953 for release in 1954. At the time 3D was only achieved with Side-by-Side camera configurations. In the 1980s Beamsplitter rigs were created and this allowed for us to adjust the interaxial distance between cameras to get closer focus on objects closer to the 3D rig. Convergence could also be adjusted with the Beamsplitter Rigs. This was improved upon by James Cameron and Vincent Pace in the early 2000s and in the 2010s 3ality Digital had brilliant Stereo 3D Image Processors that could be attached to the Beamsplitter Rigs for achieving the appropriate interocular and convergence for good stereo imagery. It's unclear with the URSA Cine Immersive if convergence can be adjusted as well. So, it would be great to use still shoot with a dual camera system inside a Beamsplitter Rig for the most flexibility. Maybe Blackmagic will create a dual camera system with the same sensor for a Beamsplitter Rig so that flexibility can be achieved. We'll have to see. I'm at this time more excited for the URSA Cine 12K with its VistaVision sensor. And, even the URSA Cine 65mm 17K because outside of the Alexa 65 it is the only other digital 65mm sensor. Next step after that is true 15-Perf 70mm Sensor Size. Maybe that would be an URSA Cine 24K. However, then we get into the optics challenge due to the lenses needed for that size sensor. But, if you look into the URSA Cine 12K you'll find that Blackmagic jam packed a lot of new features into the camera. I'm most excited about the lens mapping with PL /i Technology lenses, and the output of lens data for the AC/Focus Puller. Plus that lens data is stored, so maybe in Resolve it will help with lens corrections in the color grade. Blackmagic included all my requested changes and improvements in the URSA Cine, with the exception of one thing: separate Timecode and Gunlock Ports. I would have loved for a 5-Pin Lemo for Timecode and a Genlock SDI as this would have best helped with Virtual Production with LED Walls. However, it would still suffer from the same rolling shutter flaw in the Alexa 35 with the LED Wall. But at least you could Genlock the camera while getting Timecode for audio syncing. Either way, that's a small missing feature that can be solved in later models. I'll be curious about the URSA Cine Immersive nonetheless. I'm excited that Apple is potentially going to reignite Stereo 3D Filmmaking with the Vision Pro. I still love Stereo 3D, but it was a challenge working in that industry. There's a whole discussion on its own of what transpired in the 2010s within the industry. But at least I have that knowledge of producing that kind of content still in me so that I can return to it anytime in the future that it returns. I still love Stereo 3D and am excited to see content in the format on the Apple Vision Pro.

Epic!

So it's all just talking for 10 minutes without a single real world footage example? What are we exactly talking about then? I better go watch people who actually own and use the cameras as intended, like @CINENIMUS for example. This clickbait spec reading BS is getting out of hands lately on KZfaq.

Is this about cameras or jokes?

The G2 wins in EVERY category.

love it 🤣

Well that's an instant app download for me!

Worth spending time working on presenter's gesticulation subroutines to bring them more in line with natural human motion.

I guess KZfaqrs don't have like 20 or 30 smallhd monitors laying around like the cine folks do. As for the rolling shutter, I end up adding lead weights to my rigs just to keep the camera operator from yanking it around. If you need to do handheld style, get a camera that does that sort of thing. Everything else is smooth and graceful which the Pyxis will do just fine.

Nice video guys! 😂 I wonder if they’re gonna do a similar thing with the Apple Immersive BlackMagic collab, take existing body and just throw that crazy double lens on it.. any take on that camera’s potential for Virtual Production?

As someone who has owned various Blackmagic Cameras over the years and has had the URSA Mini Pro G2 since 2019 let me clarify some things. I have owned the Original URSA Mini 4.6K from 2016 to 2020, and then the Pocket 6K from 2020-2022, and the Pocket 6K Pro from 2021 to Present. Dynamic Range: Blackmagic Design has claimed from day one that the 4.6K sensor that has been used in the Original URSA Mini 4.6K, URSA Mini Pro, and URSA Mini Pro G2 has 15 stops of dynamic range. The Pocket line has claimed 13 stops of dynamic range for the 4K and 6K models. The full frame 6K sensor has the same 13 stops claimed for the Pocket style Cinema Camera and PYXIS. The UMP12K was claimed to be 14 stops and the new URSA Cine 12K is claiming 16 stops. In my own testing I found that the URSA Mini 4.6K sensor has more dynamic range that the 6K sensors. This is especially apparent in the highlight recovery. The 6K does perform slightly better with shadow recovery. The 12.5 number you reference is likely from the CineD tests. They have their method of testing and should only be taking at the value in which they test, which should be used across all cameras they test. So their tests are good for measuring against other cameras. They claimed 12.6 for the UMPG2, 11.9 for the P6K, and 11.7 for the BMCC6K. As reference the Alexa 35 is claimed to be 17 stops and CineD tested to claim 15.3. The original Alexa sensor had a claim of 14 stops of dynamic range, and CineD put their claim at 13.8. I have used the UMPG2 as a B-Cam to the Alexa Mini plenty of times and it matches pretty well. The 1 stop difference was never a major issue. But it was nice that the 4.6K was only 1 stop off from the Alexa for so many years. Fingers crossed the new UCine12K with 16 stops is as close to the Alexa 35 and eventually LF Mark 2 from Arri. Rolling Shutter: The published rolling shutter numbers from Blackmagic Design are readily available. The Original URSA Mini 4.6K and URSA Mini Pro had 15.17ms for the rolling shutter. The UMPG2 improved that to 7.59ms. The entire Pocket 6K line (P6K, P6KPro, P6KG2) has 19.73ms for its rolling shutter. The BMCC6K & PYXIS is 25.08ms Open Gate, and in 17:9 Full Frame is 19.90ms. The BMCC6K & PYXIS in Super 35 17:9 Window Mode will get 15.13ms for its rolling shutter. Thus the Super 35 mode of the PYXIS will be closet to the original 4.6K sensor. But ultimately the UMPG2 has the best rolling shutter out of all the cameras. For additional reference the UMP12K is 15.55ms in 12K, and 8K gets 7.78ms without windowing the sensor. Ultimately, now that I’ve gotten that info out of the way, I do prefer my UMPG2 to the Pockets. I’ve always reached for the UMP more. Especially since I can use the internal ND with my PL cinema lenses. It’s very nice having the interchangeable lens mount on the camera as well. The PYXIS is still not hitting all the points I need to justify buying it. Even if the S35 mode is closest in rolling shutter to the OG 4.6K. I’d buy the PL version solely to be a B-Cam to my UMPG2, and I’m using my PL Modified P6KPro for that B-Cam currently, so no need to replace at this time. I hate the XLR Ports on top of the camera as well. But I prefer to record audio externally and use timecode boxes to sync everything. The one desired wish for the UCine12K that didn’t get met was separating Timecode and Genlock with a 5-Pin Lemo for Timecode and the Genlock remaining SDI. Otherwise, Blackmagic did hit a lot of my requests for updated features and improvements with the URSA Cine 12K. That made me very pleased. That is the camera I would love to buy. Just have to get the funds in order because outside the 16.5K needed for the body & EVF you still need to spend near 4.5K on top for 4 275Wh Batteries and Quad Charger.

But they really need to update the firmware! Update Gen 5 CS and the new menu options.

They do have converters to change the timing of the light gun, you know.

Are you kidding me? This is what Godot is used for 🤣

We can't get the auto-aligner error down to less than 0.6, and we tried for nearly a 100 times 😢 ( believe me) Is there anything we're missing? We're trying to do set extension, and for that matter, 0.6 is too much of an error and we're stuck for a month on this step 😢🥺

We can't get the auto-aligner error down to less than 0.6, and we tried for nearly a 100 times 😢 ( believe me) Is there anything we're missing? We're trying to do set extension, and for that matter, 0.6 is too much of an error and we're stuck for a month on this step 😢🥺

There's also only so many squares (light boxes) that can appear, I learned this years ago and made Duck Hunt super easy lol, it raps around to Level 000.

I mean nes emulator and sinden light gun or gun4ir…

"Video games throughout the ages".......Oh right I need to take an aspirin.

I bought this camera so I could learn to be a better filmmaker before I bought the new 12K Cine. Can't wait to start my journey

HOW MUCH WAS THE DAMN WALL