hmmm … I’m attempting to speed up my live shooting to VR workflow.
One thing I wasn’t excpeting is how far out between the camera is the actual center of rotation for no parallax, so when the camera rotates there is no parallax. For the master prime anamorphic it’s a huge 171mm, for a cp2 21mm, I measured it this mourning to about 107mm. These are real icky numbers for my kessler motion control, since the camera weight would be hugely off axis (not even sure I could do a full rotation given the cradle size).
I do like my nikon 24mm lens a lot, I think I’m going to try and see how that will work today but that should be only around 24mm (plus that lens has no weight basically which is good for my kessler system). If I do that it will be matching my master prime single angle (possibly cylinder mapped) to the nikon spherical map. Also the nodal point between the rigs would have to be close between the master prime rig on 19mm rails and the nikon lens inside the kessler motion control system – not sure how best to have exact camera nodal point placement between two completely different camera rigs.
I could probably be off my by a few centimeters between the kessler rig and the 19mm rig for the lens nodal poin, would be workable and I could roto out any edge parallax issues. That’s probably what I’ll do today, get this all figured out …. hmmm …. will tax my nuke expertice once again i guess. hmmm …
My nikon AFS 1.4f 24mm is also a fairly large lense compared to the cp2 21mm, and the nikon has almost the same pupil point at the cp2 21. I much prefer the cp2 21 in matching to the master prime, I will next attempt to remove the XL module to see if I can get this rig to fit on the kessler system.
I just tried a 8mm lens baby, with that I wouldn’t mess with a motion control rig, and it covers a 180 degree area. On the lens baby I’d do 4 quick rotational shots, then just have the lens baby fixed on the general area the master prime is shooting. the 8mm sphere would then be defocused based on the close focus distance of the master prime.
As I look at all this I probably need to do a mix of all these techniques and just keep my metadata extremely well documented on the shoot. Also scene based lidar with exact camera placements would be mandatory.
btw the leave spherical render just got approved as production, so that is nice. LOL … so I can get back to what I was suppose to do this week, is finish the trailer.
I truly hate the feel of stiched 8mm fisheye, so that will be a NO (is ok for reference though). …. it’s 1 am … doing a 9:1 aspect ratio with full sides is pretty easy with the anamorphic master primes. As I transition the immersion i’ll move from 2.4 to 8:1 on the real footage for the 3rd reel story turn, while staying 360 on the paintings. around the 5th reel there will start being a merge which then will create a mixed 8:1 & 360, with final in a complex 360 format (which I’ll do with the anamorphic, pain in the butt but will be worth it for those ending scenes).