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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Did a Robot thing with our ROKOKO.

Björn Benckert

Björn Benckert

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Not so much red camera related. But used Monstro as a reference camera for the pixel part of the tracking on this one. ROKOKO is just on their first iteration of mocap suits but no doubt they are out there to disrupt that part of the industry. Love their approach on both hardware and software.

https://vimeo.com/274053262


BTS splitscreen:

https://vimeo.com/274053174


more info here: http://www.syndicate.se/cembra-cobblestone-axel-laubscher/

Main camera was alexa Mini shooting raw. And yes the reference Monstro is not graded, and yes you know which one I would have prefered as A cam. I done the side by side comparsion and I'm not in dubt on that point. But have to respect the DP´s choice of gun. :)
 
Josh Tyron said:
Great work. Really helpful to see the three feeds side by side. Thanks for sharing!
Click to expand...

Yes, The second camera is needed to lock position of the skater. We build the whole set as a reflecting and mesurement correct 3D model from a lot of 360 snaps from a ricoh theta and the other cameras and pinpoint references points from all cameras in syntheyes. that way we can analyse the movement of the skates from the wide reference camera and transfer that to the view of the main camera, even though the skates are not visable in the man cam. So both cameras and the skates are put into the same mapped up 3d scene then the rokoko mocap suit data is linked to one of the skates. The guys in the office got it down to a sience so they had like mm precicion in those shots where that was critical which is pretty cool.

Normal mocap with Ir cameras can capture a skater no problem, but only in a big empty space where the ref cams sees all bodyparts from all angles. The cool thing with this approach is that we are able to capture a rolling guy in a resturant film set with surrounding actors and everything. Its even so that we can save stuff for the camera like the tray his holding. But if wanted he could for example have clothes ontop of the suit that also could be saved and combined with cg body parts. so really cool feature when doing body extentions. and if he was not skating the ref cam is not even really needed.
 
Bjorn,


To be able to create something like that from just a human "stand-in", and to have the talent to be able to do it, amazes me everytime I see it. Great work!
 
rand thompson said:
Bjorn,


To be able to create something like that from just a human "stand-in", and to have the talent to be able to do it, amazes me everytime I see it. Great work!
Click to expand...

Its a human standin with a accelerometer driven mocap suit. That makes huge difference. But yes still quite a fiddle.
It took 2 guys 16 days to post. Without mocap it would have taken considerably longer time to get done. Also the mocap push most of the creative decision making aside. Clients, agency gus etc can simply direct the standin until they got a good take. And then put that into the edit and usually then the animation can be done with way less discussion back and forth.
 
Gotta agree with Rand, I am really impressed with this sort of work! It is so far from the sort of work I do - could do - and it is really fun to see the 'trickery'! I hate commercials - nearly always - but with this sort of backstory I could watch them all day!
 
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