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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 :)

Dragonframe and DSMC2 ahyone?

Luka Sanader

Luka Sanader

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i am considering using DSMC2 most probably Monstor and Helium for a stop motion production.
at the moment i have the Helium as well as Dragonframe setup only thing i am missing to do the test is a Jetpack and a Gig-E cable.

is there anyone that already used DSMC2 with Dragonframe? i would like to know what was your experience? any issues with color shifts, blackshading on long takes (i had a shots that took about 1 weeks to complete)? i would really like to meet someone who had used DSMC2 for StoMo. thanks


last StoMo i shot on 35mm film and Sony A7RIII with Lomo Super Speeds


https://vimeo.com/334051941
 
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Thanks Pat. i would love to get the Red sensors and IPP2, GIA scopes, and the rest of the tools i usually use, however i know it will be a hard sale to my producers. since we moved away form 35mm film camera is no longer concerned an expense and in a way camera in studio became less important then C-Stands. Even ultra high budget films are still shot on 5D Mk1 so asking my producers to use 50 000$ 31Megapixel camera instead of 3 000 51MP camera will have some challenges. i need to make a awesome test and convince powers to be that DSMC2 is the way to go... but it looks like i will need to buy Jatpack :( in order to do this pitch
 
I just got dragonframe to use with my helium but have not gotten to that project yet....maybe i am missing something but why would you need jetpack?
 
Scot in order to run camera with that Dragonframe you need to connect it and only two modules that have Gigabit Ethernet input/output (9-Pin 0B) are Jetpack and Production. Dragonframe also needs a preview and in general that Dragonframe preview is problematic. Unfortunately for DSMC2 cameras you need to run separate input via capture card. Wile a modern mirrorless camera can be controlled via single USB for 50+MP RAW, small JPG and live view Red needs Gig-E and SDI. things are not ideal but i hope they work
 
Luka Sanader said:
Scot in order to run camera with that Dragonframe you need to connect it and only two modules that have Gigabit Ethernet input/output (9-Pin 0B) are Jetpack and Production. Dragonframe also needs a preview and in general that Dragonframe preview is problematic. Unfortunately for DSMC2 cameras you need to run separate input via capture card. Wile a modern mirrorless camera can be controlled via single USB for 50+MP RAW, small JPG and live view Red needs Gig-E and SDI. things are not ideal but i hope they work
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good to know...I had not looked into setting it up which clearly i needed to do. I will check it out. I have all the cables but might need to get JetPack i guess....I have a Sony A7III I could use..but I really want my Helium because it is just such a familiar work flow...love IPP2
 
dragonframe is developed for still cameras and there is little or no demand for Cine cameras unless you need to speed ramp. main reason using Red or any other cine camera would be to go form stop motion to live action in single shot without changing camera or without using mirror stereo rig...
 
What are the usual shutter speed you light for? I used to work on the teaser of "Ma vie de courgette" and I used quite long exposure some times. Could this be a problem with Weapon?
 
It was a while back, but I set up our DSMC1 dragon to snap frames to the mag while grabbing videotap frames from the SDI. That way I got a quick workflow with HD SDI frames going to my stop motion preview unit and on the mag I had a r3d with all the single frames.

Its in the frame triggering menu not sure its still there and not sure that is what its still called as I have not used it in a while.

I remember it was a bit fiddly to set up but we manage to use it with success doing milo go motion sequences.

The little train in this film was done that way.


Bts here:
 
Patrick Tresch said:
What are the usual shutter speed you light for? I used to work on the teaser of "Ma vie de courgette" and I used quite long exposure some times. Could this be a problem with Weapon?
Click to expand...

expose times should be relatively short. i would not go under 1/4th if needed but usually i stay around 1/15 to 1/60 Flickering is your worst enemy. again shorter times above 1/150 can make a big mess with LED practicals if there are some in sets. Wtill with all DSLR or Mirrorles there is one pixel shift every time camera is turned on this is due to IBS and i had problems with Sony cameras on motion control rigs. Red has no IBS and its still small enough be used with modern MoCo rigs.
 
Patrick Tresch said:
Does frame summing work for 1 frame trigger?
Click to expand...

Again I have not been in those menus for a very long time. But as I remmeber I think you can set trigger record to do something like 10 frames and then do 10 frames frame summing. Wich renders crazy clean images. As it takes 10 frames and blends / combind them to one so the noise over those images get averaged out.

But yes could be that you then dont get the images in a sequence but a r3d per frame. Dont remember, but done some stop motion stuff with frame summing.
 
Björn Benckert said:
Frame summing is pretty cool if you want to get clean image out of short exposure.
Click to expand...

i dont know much about frame summing specially i have no clue if it works in single frame mode. i will do research on it. thanks
 
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