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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 JIM JUST ANNOUNCE A LIGHT FIELD HIGH RES RED CAMERA?

M

Mohamed Younis

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WOW. No more follow focus..... No more focus. Is it possible? What kind of software will we use? This is going to be awesome
 
The problem with Lytros is resolution. We have the solution.

Jim
 
My feeling is it will be whatever resolution they want, although I am not sure what the physical limitations of the technology are. It's awesome to see RED perusing this. It would be awesome to be able to pull focus from the live mixer for broadcast applications.
 
Mohamed Younis said:
It can't possibly be 4-5k
Click to expand...

Well... if you started with 28K...

BTW, one other nice thing about light field cameras is that you don't need a mirror rig to shoot stereo - you can capture with one camera if there's a small IO - and you can choose your interocular in post (up to a certain point).

Anyway - anyone else going to that SMPTE presentation from Avid about doing video editing with light fields?

Bruce Allen
www.boacinema.com
 
This is the picture revolution.
Not Lytro!

EDIT EDIT: I may be causing more rumors, but this could be one of the things announced on Nov. 3rd! Look how he can barely wait to tell us!
 
the possibility of accurate dynamic relighting, easy mattes elements/ CG/ fx /tracking, perfect focus never blemishing a perfect performance, perspective based framing adjustments like single camera 3D?

its too much for the first half of this century. gonna tear the fabric of space/time.
 
I'm 90% sure that it would either be a completely different camera or a different set of lenses.
 
here's what I posted on another 'lystro/lightfield thread:


I can state many reasons why this technology sucks and should not be invented and probably will NOT be used by any professionals in any field. But here are just a few quick ones

1. takes the artistry out of a focus puller's job. They're not just automatons, they're artists and believe me, Lystro or not, you're not going to do a better job than a guy with 30 years of experience pulling focus.

2. takes the artistry out of the dynamics of hand crafted professional lenses. You see cinema lenses have specific lens characteristics for bokeh and depth of field, if you use this crappy Lystro technology, what will the bokeh look like, looks digital plain/banal to me and I doubt will ever approximate the artistry of Cooke S4's or Arri Master Primes, etc, etc. Just a bad homogenization and will take the organic CHARACTER out of the film capture.
I foresee real professionals continuing to use artistically crafted master GLASS like Cookes, Angenieux, Arri's etc and not this crappy homogenized technology
 
Would one be able to take the "depth data" that is 'generated' and use it to key out objects or actors?

You would film an actor in a room, with the background about 10-20 feet behind him. Using the data generated by which pixels are in focus at which focal length, key out anything that's out of focus while the actor is in focus. You could then comp in whatever CG character he's interacting with, over the background but behind the actor. You then don't have the problem of green or blue Spill on the actor. He looks right in the scene because he's already in the scene. That's less comping work with Nuke or Flame since you now only have to comp in the CG character he's acting against. The Actor and the parallax with the background are all set.

That's kind of dream-world stuff: being able to do "green screen" shots without a green screen.
 
That Sounds too good...

That Sounds too good...

This Is a Great idea, but can it be done?

Nick Pasquariello said:
Would one be able to take the "depth data" that is 'generated' and use it to key out objects or actors?

You would film an actor in a room, with the background about 10-20 feet behind him. Using the data generated by which pixels are in focus at which focal length, key out anything that's out of focus while the actor is in focus. You could then comp in whatever CG character he's interacting with, over the background but behind the actor. You then don't have the problem of green or blue Spill on the actor. He looks right in the scene because he's already in the scene. That's less comping work with Nuke or Flame since you now only have to comp in the CG character he's acting against. The Actor and the parallax with the background are all set.

That's kind of dream-world stuff: being able to do "green screen" shots without a green screen.
Click to expand...
 
I have the same feeling..as much as it sounds cool. But u wouldn't want to take focus puller job in post...no producer is going to pay for the cost involves. People will find more excuse to fix things in post.

Unless the depth data is for different usage, rotoscoping and compositing..then it will be a big advantages ! The biggest innovation in camera revolution.
 
Mohamed Younis said:
I'm 90% sure that it would either be a completely different camera or a different set of lenses.
Click to expand...

I am willing to bet 99.999999999% that this is a new camera. This is really seriously different optics and chips that Epic. I am taking nothing away from RED, just saying this is NOT a firmware level thing.
:-)
Mike
 
Its weird, because we dont know how it will work yet, and wether focus pulling might still be needed with REDs version of lightfield cinema camera. But if this tech is available, its advantages are so many, that i think its somewhat wishful thinking from focus pullers to believe "professionals" will not use it.
 
Peter Dmitriyev said:
1. takes the artistry out of a focus puller's job. They're not just automatons, they're artists and believe me, Lystro or not, you're not going to do a better job than a guy with 30 years of experience pulling focus.
Click to expand...
I think that you are approaching it in the wrong way. Some productions cannot afford focus pullers or nice lenses or nice cameras. They have to make do with video cameras, DSLRs etc. If light field technology allows the cameraman to use his camera freely without worrying about focussing, it is a good technology - as long as the image looks pleasant.

Peter Dmitriyev said:
2. takes the artistry out of the dynamics of hand crafted professional lenses.
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Not necessarily. You can add a light field sensor to any lens, in principle.

Jimmy Shen said:
Would putting a lens array in front of the sensor work?
Click to expand...
I think that the light field sensor is nothing more than a micro-lens array. IMHO.
 
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