RealTwin’s Post

Bandicam Review – A Detailed Guide #bandicam #screenrecording #videorecording #technology

ok, I'm thinking on starting a series of "MHA tips" (hopefully they are helpful to someone) Lets start with Calibration.. I know I've posted some of this before, but bears repeating. The goal of the calibration is to achieve the lowest possible MSE number that you can, which is used to construct the depth map when ingested into UE. Anything below .50 is great, between .50 and 70 or so is ok (especially with higher resolution HMC's) and below 1 is normally useable. This being said, it also depends on the cameras, as I've had higher than 1 and been able to use it and I've also had what was reported as a good calibration, but my depth map was unuseable (this then was caused by lighting and other conditions on the face or no sync from the cameras) 1.- Watch Gabriella Krousaniotakis excellent tutorial on Youtube. https://lnkd.in/g-RMHcyD It shows how you should move the board across the screen, lighting, etc. She covers both iphone and stereo processes. (and make sure you capture a new one every time you think the camera position has changed, and note it in your capture) 2.- Adjust lighting and focus when capturing the checkerboard, you want to make sure it is in sharp focus and that the lighting doesn't cause hotspots in the board (later you can adjust up for the face) 3.- Make sure you START the capture with the board in view of both cameras, this is because the calibration app will randomly select frames from the beginning and across the whole calibration shot according to the -n number you specify in the calibration script. ALWAYS keep it in view of both cameras, without cutting off corners or anything else (same rule applies). If you didn't do it this way, either edit the footage to cut those parts off or you can alternatively use an offset in the calibration app by using that option (look in the readme pdf in the latest calibration app download) or go back and capture a new one. 4.-Even after you make sure you capture everything right, it still might spit out a very high MSE number. Play around with that "-n" value in the script. In the shots I recently posted, when using my usual value of -n 60, my MSE was a whopping 3.x for some reason (I even loaded up the Calibration app GUI and still couldn't see a reason why), but when I changed that to the standard value of 30, it gave me a .3 MSE, going higher also gave me good number, so play around with it.. 20, 30, 40, 50, etc. I wouldn't recommend going much higher than 90 or 100, as it will greatly increase the calculation time without really giving you any benefit.

The global market for Digital Special Effects Compositing Service was estimated to be worth US$ 13900 million in 2023 and is forecast to a readjusted size of US$ 21670 million by 2030 with a CAGR of 6.6% during the forecast period 20242030Digital special effect synthesis service refers to the use of computer technology and software to synthesize and fuse realshot materials and special effect materials to create realistic and amazing visual effects. #DigitalEffects #CompositingService #GlobalMarket #VisualEffects #SoundEffects #Television #Movies #Gaming #Innovation #Technology

#Sony drops their #virtualproduction toolkit on the #unrealengine marketplace. Why is this a big deal? Previously, you only had access if you purchased the expensive kit of #venice / #venice2 cameras, or similar for the #arri. It wasn’t possible for other teams or departments to execute #previs in #preproduction, where this work needs to take place. In other words, your #vfx supervisor and vendors, didn’t have a means to understand how something was going to look, to do remote location scouting, setting up shots, and otherwise end up killing expensive production time on-set. Now, anyone can download the tools and handle the preparation that’s critical to this type of work. This is a major step towards #democratization and pushing #vp as THE mainstream studio methodology. Keep in mind that Sony has also invested over $1.5 Billion into Epic Games for technologies released to #streamingvideogames, #uefn, and related #metaverse tech. It’s fair to say we’ll see some rather interesting, new, creative tech developments in the quarters and years to come. If what I saw at #NAB / #NAB2024 is any indication it will be incredible. Way to go #Sony and #EpicGames! Download from the link below!

Finally someone giving props to how important audio is for filmmaking. A lot of emphasis is put on the visual aspect and the part audio plays in making the visuals believable is overlooked most often. #sounddesign

I can see how handy this could be. It really wasn't as difficult as I thought it would be but then most of the Cinemachine cameras are not as difficult as you would think, when you just look at what they are doing. #gamedevelopment #madewithunity #unitycinemachine #gamedevhq

Sound on 🔉 Sound is key to believable VFX. Simulon lets artists upload 3D assets with specific sounds (like footsteps or voices) attached to specific parts of the asset. All sounds are automatically spatially mixed with real-world ambient sounds, creating a final render that’s both visually and audibly realistic. Notice how the sound is dynamically adjusted between the different takes based on the asset’s position relative to the camera. The water reflections were added in post using our Blender plugin. Everything else, including the sound was created end to end on the iPhone. #vfx #cgi #virtualproduction #3D

Interactive projection installations, based on Kinect depth camera

Virtual Production Market Size & Trends The global virtual production market size was estimated at USD 2.11 billion in 2023 and is expected to grow at a CAGR of 18.6% from 2024 to 2030. Virtual production enables filmmakers to interactively visualize and explore digital scenes, such as realistic virtual characters, three-dimensional graphics, and a real-time virtual interactive background environment within the studio. Vast developments in the field of virtual production over the years have led to the introduction of solutions that allow filmmakers to transfer the motion-captured movement of an actor to virtual characters, which are then previewed in real-time, in combination with live-action footage and virtual set extension elements. Such solutions help filmmakers plan and communicate their creative ideas in new and more intuitive ways. The increasing demand for visual effects (VFX) in movie production studios worldwide and rising application scope of virtual production in commercial ads are likely to drive market growth. The full report is here - https://lnkd.in/gQ94Hrvd

That’s definitely one approach to getting multiplane camera effects.