Re: RED camera package recommendations?
- 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
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
From: email@example.com [mailto:firstname.lastname@example.org] On Behalf
Of Jeffrey S. Farrell
Sent: Saturday, December 29, 2012 1:50 PM
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
- Thank you to everyone for your helpful and thoughtful comments! Very useful and much appreciated!
--- In email@example.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
- --- In firstname.lastname@example.org, "Ed Lantz" wrote:
> Unfortunately, the resolution/frame rate limitations of digital camerasYes, 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.
> 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
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.