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Re: RED camera package recommendations?

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  • Ed Lantz
    Jeff Farrell writes: I have worked on many IMAX/OMNIMAX movies and our OMNIMAX versions were pretty much the same as shooting for a planetarium dome. While
    Message 1 of 11 , Jan 1, 2013
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      Jeff Farrell writes:

      "I have worked on many IMAX/OMNIMAX movies and our OMNIMAX versions were
      pretty much the same as shooting for a planetarium dome."

      While Omnimax (IMAX Dome) films can screen in fulldome format, there are
      also some important differences. Most fulldome films are shot/rendered in
      native fisheye (180-degree vertical by 360 degree horizontal field-of-view)
      format. Most IMAX format films are shot in flat screen format and later
      adapted for the dome. While giant screen formatting for domes as mentioned
      by Jeff is admirable (filtering, horizon lines and special movements to make
      "dome" shows really immersive for the audience), the resulting film
      typically cannot fully exploit the immersive nature of fulldome programming,
      in my experience.

      There are cognitive effects produced by parallax and "optic flow" across the
      retina - especially in scenes rich in frame-to-frame depth disparity (for
      instance, where the camera point-of-view moves through scenes with both near
      and far objects) - that can induce a 3D effect in the brain without stereo
      glasses. There are in fact over a dozen "monocular cues" for depth
      perception and some of the key ones are difficult to preserve when
      converting a flat-screen film into a dome film. The result is that, for
      certain scenes, the brain perceives the image as being mapped onto a "bowl"
      rather than being tricked into perceiving a vivid 3D sense-of-presence in an
      infinite space.

      Most fulldome films are also 30 fps and fully hemispheric.

      Unfortunately, the resolution/frame rate limitations of digital cameras
      force us to use "tricks" to capture fulldome imagery, including camera
      clusters, truncated imagery (with visual effects to synthesize a fulldome
      image if required), limited field-of-view imagery composited into fulldome
      still frame "plates," re-mapping of flat-screen imagery, scaling up of
      low-resolution fisheye cinematography of and such. Hopefully we'll soon have
      an affordable yet robust fulldome camera solution for live-action
      cinematography.

      ed

      From: fulldome@yahoogroups.com [mailto:fulldome@yahoogroups.com] On Behalf
      Of Jeffrey S. Farrell
      Sent: Saturday, December 29, 2012 1:50 PM
      To: fulldome@yahoogroups.com
      Subject: [fulldome] Re: RED camera package recommendations?

      Hi Tom et all,

      No "diz" taken! :-) You are absolutely right, shooting for the dome is
      completely different than shooting for flat cinema, TV, etc.. I have worked
      on many IMAX/OMNIMAX movies and our OMNIMAX versions were pretty much the
      same as shooting for a planetarium dome. We applied certain filtering,
      horizon lines and special movements to make "dome" shows really immersive
      for the audience.

      180 degree hemispherical dome shooting is pretty much identical to shooting
      OMNIMAX however at 24fps we had to be even more careful of strobing/picket
      fence effects.

      Cheers,
      Jeff
    • fortcollinsmuseum
      Thank you to everyone for your helpful and thoughtful comments! Very useful and much appreciated! ... We are interested in spec ing a RED camera package that
      Message 2 of 11 , Jan 2, 2013
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        Thank you to everyone for your helpful and thoughtful comments! Very useful and much appreciated!

        --- In fulldome@yahoogroups.com, "fortcollinsmuseum" <tburton@...> wrote:

        We are interested in spec'ing a RED camera package that would allow us to work with live video in our 4.3K dome theater. There are a bewildering variety of options and components! Can anyone recommend or share what they've put together, and how it's worked for them? Thanks! Terry
      • cpm5280
        ... Yes, hopefully soon. With RED s forthcoming Dragon sensor upgrade to the Epic line (which will do 6K at 85fps on a 30.7 × 15.8mm sensor), the biggest
        Message 3 of 11 , Jan 5, 2013
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          --- In fulldome@yahoogroups.com, "Ed Lantz" wrote:

          > Unfortunately, the resolution/frame rate limitations of digital cameras
          > force us to use "tricks" to capture fulldome imagery, including camera
          > clusters, truncated imagery (with visual effects to synthesize a fulldome
          > image if required), limited field-of-view imagery composited into fulldome
          > still frame "plates," re-mapping of flat-screen imagery, scaling up of
          > low-resolution fisheye cinematography of and such. Hopefully we'll soon have
          > an affordable yet robust fulldome camera solution for live-action
          > cinematography.

          Yes, hopefully soon. With RED's forthcoming "Dragon" sensor upgrade to the Epic line (which will do 6K at 85fps on a 30.7 × 15.8mm sensor), the biggest issue (aside from cost! hah!) is lenses. There are, of course, various fisheye lenses that will sort of do what we would all like, but none that are a) available b) affordable c) project the appropriate image circle size and d) retain enough quality at the edges to be useful for in-camera fulldome shooting.

          The old 6mm Nikon fisheye will do 220 degree FOV, which would allow for a nice 180 degree crop, and the crop is from the weakest portion of the image, at the edges. Unfortunately, I think the last one I saw sold for six figures.
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