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Messages - Nikon1

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1
Chronos User Discussion / Re: 12 -> 8 bit conversion?
« on: March 22, 2021, 08:28:48 AM »
Or is everybody just using DNGs.

 Yes, basically. The Full Sensor Dynamic range is just compressed to whatever h.264 Can handle at set bitrate, if you want the full 10/12 Bit and uncompressed /lower Compressed Footage, use one of the RAW formats or DNG (External eSATA Drive reccomended for about 5x Faster Save times compared to SD-Cards!). Histogram is so far not added to the Cameras interface, best you can do right now is to get an external Monitor which has an HDMI IN and Has Histogram Overlay buildt in. External Monitor helps a ton in correctly exposing your Shots, and has overally improoved my Footage a lot.

2
Chronos User Discussion / Re: Seeing a pellet in flight
« on: March 20, 2021, 07:01:57 AM »
i assume the Line is from Changing Shutter speed /angle after the Black Calibration.
 To get rid of that line, make sure to set your Gain, Resolution, Framerate and Shutter Angle first, and after all settings are done and applied, do a Black Calibration.
 This should usually get rid of that line.

3
Chronos User Discussion / Re: Seeing a pellet in flight
« on: March 20, 2021, 01:11:57 AM »
As far as resolution goes, for this shot you could have easily choosen an wider Aspect ratio Image, as about the lower half of the Image as of now is "dead Space", where almost nothing is happenig anyways. So if you went with half the vertical resolution and reframed the shot to only see the now top part where the pellet is flying, you wouldnt really loose any detail from that, while increasing framerate by quite a bit. For Tracking things like those in Flight, a pretty Wide image is usually more usefull anyways than an close to Square one.
 .
 Another Trick to make the Projectile seem to move slower, i see often used with projectile Footage is, to not shoot at an 90 Angle from the Path of flight (Of course sometimes necessary to get an good view of front and back of target...), but to get closer to the Shooters Perspective or an more shallow angle, as now the same Space in Frame covers more real World Distance the Pellet will have to travel, meaning it will be in Frame for longer (and also moves seemingly slower).
 Of course not very usefull trick, if what you are going for is the typical 90 Side angle, but still worth thinking about sometimes.

4
Chronos User Discussion / Re: Seeing a pellet in flight
« on: March 19, 2021, 08:36:01 PM »
i dont know what lens you are using here, but there is a ton of Color Fringes going on in the image, which take away a lot of the Detail the Camera could have possibly captured here. So maybe stop down (use Smaller Apperture/ Iris Setting, this sometimes goes away or at least gets better with smaller Apperture Settings) your lens a bit or try to use a better lens.
 .
 Even more Important is the Lack of Seperation from the Background. Try filming the Pelet against the Sky, use some White Backdrop where you expect the Pellet to fly or use some Really bright light as a Backlight of the Pellet from the Oposite side of the Camera to give it a distinct outline (Nice Trick if you are low on light, use Heavy backlight to at least have Silhouettes clearly visible, so you sometimes can get away with an overally too dark image, while still beeing able to see whats going on). The Dark Pellet is just not very visible against the also rather Dark Grass.
 .
 Another thing to consider is Shutter angle and Framerate. As from the Motion blur visible and the (for gun stuff) rather low Framerate i assume you filmed this on an Cloudy day or with not too much light overall, which is understandable. But if you want slower, sharper Footage, you usually either need to up your Framerate or make your Shutterspeed / Shutter-Angle Smaller/Shorter (which will make your Frame a lot darker!). This means for some things like that you need to either add artificial Light to your Subject you are shooting or Shoot on bright and sunny days only.
 .
 Most general-Purpose (motion Picture Production and so on...) Highspeed-Video gets away with a lot less light (Still needs Plenty bright Environment to record anything worth showing), but especially gun stuff and Projectiles in Flight require A LOT of Light!

5
While i know a fair bit of theory behind how this would work, i must say, i personally never actually did any external Trigger stuff on the Camera so far. So, for actuall know-How on an Setup to use, i would reccomend to contact or ask someone who has allready done that, and can tell you what to do and what to avoid. I know clkdiv here on the forum did some advanced External Trigger setups, so maybe he can help you out a bit with this (there are propably plenty other people, but he is the first one that comes to my mind with this stuff).
 .
 https://forum.krontech.ca/index.php?topic=597.0
 

6

One of those articles, I could not believe the size of those lights on their little subject! I need those lights! Where on earth do you find ones so large! Wild.

Looks like at least one of them is some Lamp from Arri
 The user julien uses a pair of ARRI Daylight M18 Lights. I personally also own two older HMI Lamps (1200+600W), but they are not useable for anything above 25fps, cause they flicker, you need ones with a Special Inverter for Highspeed Filming. But those, especially these Arri ones are crazy expensive.
 .
 https://forum.krontech.ca/index.php?topic=613.msg4202#msg4202
 https://www.bhphotovideo.com/c/product/1490756-REG/arri_l0_0006575_m18_hmi_with_eb.html
 .
 Could also be Straight up tungsten Lamps, like 4kW to 10kW Lams or something, but that would be just a oven at that point and Starts to be a serious Fire Hazard. So because of how close they are with those Lamps, i hope those are Highspeed-Ready HMIs or something like that. Dont really know the exact Lamps they used there.

 Did Some More Research on those Lights in that Image, and seems like they are 10 or 12kW each. Here are some More References for those Lights:
 .
 http://www.coloradogriptrucks.com/portals/14/pics/041%20comp.jpg?ver=2017-04-18-112346-000
 http://www.coloradogriptrucks.com/Equipment-Available/Lighting
 https://www.bhphotovideo.com/c/product/273615-REG/Mole_Richardson_4371_10_12K_Molequartz_20_Tener.html
 https://sep.yimg.com/ay/filmandvideolighting/demo-arri-t12-12k-tungsten-fresnel-light-5.jpg
 https://www.arri.com/en/lighting/tungsten/studio-t/studio-t12
 https://www.bhphotovideo.com/c/product/149969-REG/Arri_533100_12_000W_Fresnel.html
 

7
Chronos User Discussion / Re: Chronos 2.1 lenses
« on: March 11, 2021, 05:31:38 PM »
If you are Brave (or very Desperate) you can also use this sketchy trick with Nikon G-Style Lenses:
 .
 https://forum.krontech.ca/index.php?topic=516.msg2836#msg2836
 

8
Chronos User Discussion / Re: Chronos 2.1 lenses
« on: March 11, 2021, 05:28:27 PM »
http://forum.krontech.ca/index.php?topic=544.msg3455#msg3455
 .
 Look at this Post from a while back, the Adapter i Linked there and any other Nikon G-Style Adapter from another Brand will work for Nikon Lenses without Aperture Ring.
 For Canon Mount Lenses its not really easy to control the aperture without an Canon Brand Camera.

9

One of those articles, I could not believe the size of those lights on their little subject! I need those lights! Where on earth do you find ones so large! Wild.

Looks like at least one of them is some Lamp from Arri
 The user julien uses a pair of ARRI Daylight M18 Lights. I personally also own two older HMI Lamps (1200+600W), but they are not useable for anything above 25fps, cause they flicker, you need ones with a Special Inverter for Highspeed Filming. But those, especially these Arri ones are crazy expensive.
 .
 https://forum.krontech.ca/index.php?topic=613.msg4202#msg4202
 https://www.bhphotovideo.com/c/product/1490756-REG/arri_l0_0006575_m18_hmi_with_eb.html
 .
 Could also be Straight up tungsten Lamps, like 4kW to 10kW Lams or something, but that would be just a oven at that point and Starts to be a serious Fire Hazard. So because of how close they are with those Lamps, i hope those are Highspeed-Ready HMIs or something like that. Dont really know the exact Lamps they used there.
 

10
Wow, thank you for your responses!

Not really looking for a 3d view, just trying to maximize the amount of fps with two or four Chronos Cameras. How do you ensure their synchronization?
Feed them with an external Trigger. If you send the Same Trigger Signal to both cameras, they will trigger Syncronous. Use an Offset accordingly to the Number of cameras you use for your Trigger Signal to get Frames Taken at regular Time Intervals.

11
Chronos User Discussion / Re: Chronos 2.1 lenses
« on: March 10, 2021, 10:56:59 AM »
Next up are propper Adapters for MFT-Mount, Nikon1-Mount, Pentax 110, Sony-E-Mount, and an Advanced C-Mount Adapter. MFT and N1 Adapter are allready beeing worked on, the others are so far just blueprints in my head. For Lens Adapter i usualy prefer to use Original Mounts from Brand Cameras over using Metal mounts from those Cheap Extention tubes where ever possible, as finish and fit on the Original Brand Camera Body Mounts is usually worlds better than on the Tube ones. The Cheap Mounts from those Extention tubes are still far better than any Plastic Mounts, but as they are Cheaply made and still have to fit a wide Variety of Lenses and Third-Party adapters, the Makers seem to prefer a rather loose fit on those, to avoid Lenses or adapters not beeing able to be mounted at all. This however makes them Less precise and they sometimes even have Some Play in them, which is just annoying.

12
Chronos User Discussion / Re: Chronos 2.1 lenses
« on: March 10, 2021, 09:11:41 AM »
The mount was Taken from an Old Soviet KIEV Camera, as well as the Lenses. I wanted to keep the Mount Part of the Camera in as much of an untouched state as possible, and only removed a little material where it was unavoidable, otherwise the Overall adapter could have been a little bit smaller.
 Overally a very nice Kit of vintage lenses, which gives a really high Quality Vintage Look (those Lenses are Russian copies of early German Leitz/ Leica Optics, but usualy WAY Cheaper to get, bought all of this for like 30 to 40, dont quite remember anymore, however the Mount will ofc also take Leitz brand lenses...). And those Lenses are SHARP. The 50mm has quite flat color rendition (which i like), but gains some Contrast when stopped down a bit. The 35mm has surprising amount of contrast considering its age, just a outstanding lens. The 135mm is a very solid lens also in terms of image Quality. Seems to be at least as sharp as the 35mm, as far as i was able to test it, and also has a bit of a softer and flater color rendition than the usual modern lenses.
 .
 Hacked together a Adapter for Sony-E-Mount when i got those, and went to a local Camera store to try them on an α7R III just for Kicks, and even on that sensor fully Zoomed in, it was still as sharp as can be (except for the 50mm wide open untill like f/5.6 or /8, where it also gets as sharp as the sensor can even capture... Hardly noticeable on lower resolution Sensors). Truly impressive for lenses of that age.
 .
 Nice and compact In Size, but sadly not the fastest apperture Lenses ever (35/2.8  50/2  135/4), but still reasonable for outdoor Lighting, where you would stop down anyways to get at least some depth of field.

13
Chronos User Discussion / Re: Chronos 2.1 lenses
« on: March 10, 2021, 08:47:37 AM »
Finally finished the Rangefinder-Mount for my 2.1, here are some Images with lenses. I Skeletonized it as far as possible and removed all material that wasnt needed, where possible, to save on weight, allow for better access to the Mounting Screws for faster Mounting/ Removal of the Adapter, and to reduce the bulk generally. Final adapter assembly weight is only 119g, which is pretty good considering the original Contax mount part of the Adapter is almost completely made from Solid Brass. The Screws i use are Stainless and add another 22g. For anyone interrested in buying the Same Screws:
 .
 https://www.ebay.de/itm/4-Stuck-Silber-M4x10mm-Gewinde-304-Edelstahl-Randel-Randelschrauben/284085269100?hash=item4224cd326c:g:NzsAAOSwCpxftLSj
 .
 The Lenses weight ranges from 121g (the 35mm Lens) to 285g (the 135mm Lens).

14
The Term to Look up on your Search Engine would be "Mirror Rig"; "Stereo Rig" or "3D Rig".
 .
 There are a bunch of people who used Mirror Rigs for 2 Cameras to double the Framerate (will put some References and links to pages with images throughout the Post here, mixed with some Comments from me between them, there is Plenty more out there, just meant as a little Help to get you started), here is about the simplest DIY Setup i know of, which actually works:
 .
 https://www.youtube.com/watch?v=lItG7LdKO5A
 .
 They used two Gopros here, and Rigged them up with some 3D-Printed Case and a Half Mirror, Alternating Trigger Timing was done by just randomly pressing Record on both and hoping timing would Line up well enough for that to work (quite a bit easier with the Chronos and most other Cinema Cameras, as they usually allow for some kind of external Timing Reference or External Trigger source).
 While That Rig isnt ideal in some Ways, its a nice Proof of Concept.
 .
 However, for use with anything bigger than an Gopro/ Phone/ Small Compact Camera, you will Quickly end up needing a more Serious Camera Rig, especially if you still want to have the Flexibility to Change Lenses, Point of Focus, ect. (Maybe even WHILE Shooting/ Focus Pulls/ Zooms). This Usually means that you need a rig that allows for a bunch of different Adjustments for Camera Alignment. Those Mirror Rigs are usually used for Professional 3D-Filmmaking. They are used to Allow shooting two different angles of the Same Image, closer together than the Size of those Cameras there usually allow for, Simulating the Distance of Human Eyes for more Immersive Movies. As the Distance of those two perspectives usually needs to be readjusted depending on what you are shooting (The Distance of the Two Cameras Perspectives is what sets the Viewers scale of Perception for the Scene (sorry i am not a native speaker, dont know how to say that better, hope its understandable enough...), meaning the Cameras will need to be closer together for Macro shots to not make the final image "fall apart" and needs to be further apart for Bigger Scale Shots to give enough of a difference in Perspective between both Cameras to still give an 3D-Effect at all.), those Rigs have all the Same Adjustments, which would also be needed for your use plus allow for Perspective Offset also. Only difference between 3D-Shooting and using a Mirror Rig for Frame-Rate Doubling is the Camera Offset and timing of Frames across The Two cameras (3D Footage will be shooting both frames at the exact same Time).
 Here are some Examples of Professional 3D-Rigs:
 .
 http://cinemavision.com/mr
 https://hd-cinema.com/Genus-Hurricane-3D-Mirror-Rig.html
 https://urbanfoxtv.blogspot.com/2011/05/decode-to-launch-new-3d-mirror-rigs.html?m=0
 https://www.live-production.tv/case-studies/sports/sixteen-3d-rig-manufacturers-overview.html
 http://3droundabout.com/2011/11/5446/how-to-calibrate-3d-mirror-rigs.html
 https://www.fxguide.com/fxfeatured/reach-for-the-sky-mpc-goes-full-circle/
 https://markhardin.com/naturalvision/
 .
 Now, as Rainer allready said, as soon as you start doing this With Higspeed-Cameras, you will need a Lot of Light...
 .
 http://shootdatapost.com/blog/2011/6/30/3d-flex-tease.html
 .
 Also, depending on your Lenses, Weight and Size of the Rig itself and whatever other stuff you also put around your Camera, the Whole Rig can get pretty big and Heavy rather Quick. Now the Chronos Cameras are somewhat small and Light Cameras compared to most of the Full-On Cine Cameras shown in the Links above, but depending on your lens, you will still be very likely to end up with an Rig which exceeds the Weight Limit of most Entry-Level Video Heads, which would be more than apropriate for a Single Chronos. Things get even Worse for any Shots which need the Camera to Move in any way, like A Dolly, Gimbal or Crane. In summary, if you end up doing that, make sure you have a camera Support, which can Handle size and Weight of the Final Rig if you dont want to end up breaking Your Tripod and / or Cameras:  .
 https://qph.fs.quoracdn.net/main-qimg-7d4aca5f09200d741a463cbe9fa17908
 (This Image is quite absurd of course, but just to make a point here about Camera Supports which are apropriate for the Size and Weight of Rig used, this is a Vinten MK7, able to handle like 100kg and also the Size of such a Camera...)
 .
 .
 So, now as A Summary of the Whole Topic so far, is this worth to do?
 A few years ago, i came across some very well Article on a Website (which was allready old then), where someone also rigged up two Phantom Miro (or older Flex) Cameras for Higspeed-3D Shooting, where they in depth explained Pros and Cons of Mirror Rigs, but i can sadly not find the Article anymore, seems to be lost..
 Somewhere in there they wrote something like:
 "While this Half Mirror now solves the Camera Offset (they bevorehand explained why it was very important to get the Offset Right to make the 3D-Footage Feel Right, and why its difficult to do because of the physical Camera size), it introduces a ton of other Problems (going on with explaining them in detail)".
 Which in my opinion is a very good summary of the Whole thing about Mirror Rigs.
 .
 I personally must say, i havent used any actual Mirror Rigs (with 2 Cameras) in Production ever, apart from Prompters, but even the Prompters with Small Cameras got uncomftably bulky and heavy very Quickly.
 I thought about building one for some time however, to make some cheap fast Camera, but ended up realizing that it is just too much work and not really practical for the Result it gives.
 In my opinion now, just not worth all the work, because in order to get at least half decent Results from such a rig, you need to allready do it somewhat propperly (ofc. you can fix a little bit in post with aligning the Footage there, and croping a bit, but thats kind of against the point of doing all that in the first Place...then you could just have shot in lower Resolution and Higher Framerate to beginn with...), and as a Result "only" double your Framerate.
 Given that you also end up needing TWO entire Cameras, Lenses and whatever else you have attached to them, its worth considering just getting an more Powerfull Camera at that point. Now for 3D its a bit different, as you need the Physical offset to get the Image Effect you want, so there is now way around such a 2-Camera-rig, and bigger, Heavier Cameras here usually means just better image Quality, but for Frame Rate doubling, you can usualy get better single Cameras somewhere, when it comes to Highspeed-Cameras.
 .
 Then there is also Simulated "Fake" Slow Motion by Software which basically generates Frames in between the Frames Your Camera Shot, to slow it down more and still have it look smooth. Used The Twixtor Plugin for Adobe AE and got Useable Results with up to 25% Playback Speed (meaning for every 1 original Frame from Camera the Software generates 3 New frames, making 4 final Frames, so every 4th frame is a real one, the Rest are filled in by software with generated images), and good results with 50% Playback speed.
 .
 https://forum.krontech.ca/index.php?topic=415.0
 .
 .
 There is also the other Take at the Whole Topic of multi-Camera Setups /Optical Arrays of just putting them Next to each other in some way or another, and not using Mirrors at all.
 .
 https://area.autodesk.com/life-in-3d/technolust/?src=vr
 https://www.photofacts.nl/fotografie/rubriek/wetenschap/telescoop-van-10-canon-400mm-objectieven.asp
 http://graphics.stanford.edu/papers/st_interp/
 https://www.roadtovr.com/lytro-immerge-latest-light-field-camera-shows-major-gains-in-capture-quality/
 http://graphics.stanford.edu/projects/lightfield/
 https://graphics.stanford.edu/projects/array/
 http://graphics.stanford.edu/papers/CameraArray/CameraArray.mp4
 (Keep in mind this is pretty old, was quite Crazy technology back then)
 https://www.krontech.ca/chronos-ring/
 https://www.newworlddesigns.co.uk/production-bullet-time-rigs/
 https://petapixel.com/2012/12/24/freezing-time-and-space-using-a-bullet-time-rig-of-100-digital-cameras/
 https://www.popphoto.com/news/2014/07/bullet-time-rig-uses-50-canon-1d-x-dslrs-and-24-70mm-f28l-ii-lenses/
 https://www.rocketstock.com/blog/cinematography-inspiration-explosive-bullet-time-action/
 .
 Now, while you can certainly build Mirror Rigs with 3 or even more Cameras or Image Sensors if you really wanted to (an example would be an Old DLP-Projector, or 3CCD Camera, which both use 3 Seperate Optical Paths for Capturing or Projecting Images.), the Mirror Optics and overall Rig For that gets ridiculously complex. So an easy way to Stack even more Cameras than 2 Together is to loose the Mirrors all together and just mount them somewhere, pointing in the Same Direction. Problem you now have is, that your Perspective will constantly be shifting around. In some Cases, this might be the Desired effect, like Bullet time Rigs, where the Camera just "moves" so fast, that it is impossible to move a physical Camera at that speed, and instead you just use a seperate Camera for each single frame (can again be filled in with generated frames from Fake-Slow-Motion Software to smooth out the Motion and cut camera cost in Half or Third). But in case thats not what you want, you end up with footage that is constantly "Vibrating" around. If you can get far enough away from whatever you are shooting however, the difference in Perspective CAN be so small, that it wont be too noticeable usually.
 .
 .
 As A Conclusion, my current personal opinion is, that if you allready happen to own two identical Cameras and Identical Lenses (also lenses need to be identical!), and maybe even have acces to an propper Mirror Rig or can easily build one with some DIY, it might be worth a Try, but expect to put quite a bit of time and effort into it, until you get perfect footage. Otherwise i think its not really worth it, unless done on a really large Scale or to go beyond some Technical Limitations of the Best Cameras out there, as shown in some of the Links above. There is a Reason, why there is so few examples of 2-Camera Setups like this....
 So i personally wouldnt go and buy a Second Camera and Lens(es) just for doing that.
 I would try to get along with using Simulated (Fake-Slow-Motion), just higher Framerate Settings on the Camera itself, or actually looking into getting an Camera Upgrade (remember, you can also Rent really High-End Cameras if you really NEED them just for a short bit).
 .
 As Also allready Mentioned in the Beginnig, there is way more info about this to be found, this was just meant as a quick overview of most of the stuff i know about the Topic in general and my point of view on this.

15
Software Dev / Re: Chronos V0.6.0 Full Release
« on: February 26, 2021, 01:23:16 PM »
Thats normal so far, you cant easily see the other Partition on Windows. Only the Small Boot one will show up, but there is an invisible other one too. Does the Camera start up with that card however, meaning, you see an Krontech Logo/ Animataion after a bit and later a User interface you can interact with, or is something along the Boot-Process broken?

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