Tyler Garn
Member
I just wanted to relate my recent experience using The Scarlet-X to shoot material destined for creating textures for a CG/live action mix project.
My company was tasked with recreating multiple airplane cockpits for a government-training project. These were real working planes and we only had a limited amount of time on each one. For this project we need to create photo-realistic cockpit environments to be comped with actors who will be shot against greenscreen.
This was a real challenge because there was no way to put the camera where it needed to be. Every shot required for the finished piece was technically an "impossible shot". Another tricky component was that I had very little way to control the natural light in each cockpit. We started shooting before the sun came up and worked into well after noon. After some quick testing I decided that a good approach could be to rig up our Scarlet with an on-camera (daylight balanced) LED light and a 24 mm lens. I set it to record 5k at 8 frames-a-second and then basically "scanned" the areas in close-up I need to recreate with CG geometry later.
The only other cameras I had on the shoot were a Canon G10 and a Gopro. I used those to take wider reference shots for position and lighting but concentrated on the Scarlet to shoot anything I plan to actually use as a texture.
After looking at the footage I think that this technique is going to work amazingly well and the unique functionality of the RED as a hybrid Stills/Motion camera really made a possibly very-difficult, if not impossible production truly possible and even efficient.
Unfortunately I can't post any of the footage or end results but I'm curious if others of you have used your RED cameras in a similar fashion?
My company was tasked with recreating multiple airplane cockpits for a government-training project. These were real working planes and we only had a limited amount of time on each one. For this project we need to create photo-realistic cockpit environments to be comped with actors who will be shot against greenscreen.
This was a real challenge because there was no way to put the camera where it needed to be. Every shot required for the finished piece was technically an "impossible shot". Another tricky component was that I had very little way to control the natural light in each cockpit. We started shooting before the sun came up and worked into well after noon. After some quick testing I decided that a good approach could be to rig up our Scarlet with an on-camera (daylight balanced) LED light and a 24 mm lens. I set it to record 5k at 8 frames-a-second and then basically "scanned" the areas in close-up I need to recreate with CG geometry later.
The only other cameras I had on the shoot were a Canon G10 and a Gopro. I used those to take wider reference shots for position and lighting but concentrated on the Scarlet to shoot anything I plan to actually use as a texture.
After looking at the footage I think that this technique is going to work amazingly well and the unique functionality of the RED as a hybrid Stills/Motion camera really made a possibly very-difficult, if not impossible production truly possible and even efficient.
Unfortunately I can't post any of the footage or end results but I'm curious if others of you have used your RED cameras in a similar fashion?
