DOCSLIB.ORG

Manufacturing of Low Cost Semi Automatic Camera Slider

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Research Article Manufacturing of Low Cost Semi Automatic Camera Slider Tamilarasan C1, Dinesh Sankar S2, Sundar Ganesh CS3, Srihari G4, Sadish Kannan S5, Aishwarya Senthil Kumar6 Abstract This papers deals with the efficient design of a camera slider. A camera crane is useful for getting high shots or low shots which need to move a great distance horizontally or vertically, without the expense and safety issues of putting a camera operator on a crane for a crane shot or laying track for a camera dolly. The slider has a movable carriage that is attached directly to the camera or attached with a tripod head between the camera and the carriage for more panning and angle options. It is difficult for the short film makers to capture the effective shots without any blurriness, noise and uninterrupted video. Hence, the equipment’s like tripod, slider, shoulder rig, crane are required to get proper quality of the captured shots. This equipment’s are of high cost, difficult to afford and are not portable. To overcome these factors, all the equipment’s are integrated as one compact device. In this paper the use of each equipment is analysed. The techniques of all the equipment was studied and integrated. Aluminium profile extension is used to integrate these equipment’s. Aluminium profile extrusion is mounted on the already available tripod stand. The functions of slider, shoulder rig, crane is gathered as a single component. The zooming, focusing and rotation of the camera axis is automated using servo motor, gear motor and servo controller. Keywords: Automatic film making system, Dolly, Camera Slider, Open loop control Introduction A jib is a boom device with a camera on one end, and a counterweight and camera controls on the other. It operates like a see-saw, but with the balance point located close to the counterweight, so that the camera end of the arm can move through an extended arc. A jib permits the camera to be moved vertically, horizontally, or a combination of the two. A jib is often mounted on a tripod or similar support.In filmmaking and video production, a crane shot is a shot taken by a camera on a moving crane or jib. Most cranes accommodate both the camera and an operator, but some can be moved by remote control. Camera cranes go back to the dawn of movie-making, and were frequently used in silent films to enhance the epic nature of large sets and massive crowds. Crane shots are often found in what are supposed to be emotional or suspenseful scenes A jib is somewhat more complicated than a simple lever, since almost always the camera’s aim needs to be controlled independently of the swing of the jib arm. This can be done by relatively simple mechanical means or by the use of remotely controlled electric servo motors. Since the camera operator is often not able to use the camera’s controls 1,2,4,5,6U.G. Student,3Assistant Professor, Department of Robotics and Automation Engineering, PSG College of Technology, Coimbatore. Correspondence: Sundar Ganesh CS, Department of Robotics and Automation Engineering, PSG College of Technology, Coimbatore. E-mail Id: [email protected] Orcid Id: http://orcid.org/0000-0003-2041-5249 How to cite this article: Tamilarasan C, Dinesh SS, Sundar GCS et al. Manufacturing of Low Cost Semi Automatic Camera Slider. J Adv Res Manu Mat Sci Metall Engi 2017; 4(3&4): 14-23. ISSN: 2393-8315 © ADR Journals 2017. All Rights Reserved. J. Adv. Res. Manu. Mat. Sci. Metall. Engi. 2017; 4(3&4) Tamilarasan C et al. directly or look through the camera’s viewfinder, a jib is and enables remote pan/tilt functions with focus/zoom often used in conjunction with a remote camera control for control. This setup can be operated by one person, or focus and zoom and with a portable video monitor. Fig.1 the circumstance may require two operators. In a two- shows a model block diagram of camera cane. A device operator situation, one person operates the jib arm/boom known as a “hot head” or “remote head” is attached to while another operates the pan/tilt/zoom functions of the the camera end of larger jibs. It supports the camera remote head. Figure 1.Block Diagram The camera cranes, slider, shoulder rig which are already tipping load. The stability-limited rated load for a mobile available in market are high in cost and completely manual crane supported on outriggers is 85% of the tipping load. in control. The already available camera crane, camera These requirements, along with additional safety-related slider, shoulder rig are as separate equipment. To integrate aspects of crane design, are established by the American all the equipment as one compact device. This project uses Society of Mechanical Engineers Mobile and Locomotive a jib crane arrangement using aluminium Extrusion, thus Cranes. making it more cost effective. Standards for cranes mounted on ships or offshore platforms Camera Crane are somewhat stricter because of the dynamic load on the crane due to vessel motion. Additionally, the stability of A crane is a type of machine, generally equipped with the vessel or platform must be considered. a hoist rope, wire ropes or chains, and sheaves, that can be used both to lift and lower materials and to move them Jib Crane horizontally. It is mainly used for lifting heavy things and transporting them to other places.The crane must be able A jib crane Fig.2 is a type of crane where a horizontal to lift the weight of the load,not topple and not rupture. member jib or boom, supporting a moveable hoist, is fixed For stability, the sum of all moments about the base of to a wall or to a floor-mounted pillar. Jib cranes are used in the crane must be close to zero so that the crane does industrial premises and on military vehicles[2]. The jib may not overturn. In practice, the magnitude of load that is swing through an arc, to give additional lateral movement, permitted to be lifted is some value less than the load that or be fixed. Similar cranes, often known simply as hoists, will cause the crane to tip, thus providing a safety margin. were fitted on the top floor of warehouse buildings to enable goods to be lifted to all floors. Stability limited rated load for a crawler crane is 75% of the 15 ISSN: 2393‐8315 Tamilarasan C et al. J. Adv. Res. Manu. Mat. Sci. Metall. Engi. 2017; 4(3&4) Figure 2.Jib Crane Cameramonitor which features you need in a monitor before you consider price. This way, you will most likely get a better overall While many people start by looking for a monitor within a understanding of the value of the features, which will specific price range, you may be better served by defining better fit your workflow. Fig. 3shows the camera monitor. Figure 3.Camera Monitor There are many different manufacturers’ on-camera view screen or EVF and one can position independently of monitors available in a wide range of features and sizes. the camera itself.This allows to use it as a composition and This may make choosing one on-camera monitor a daunting framing aid. Taking into consideration the size and weight task, even when selecting from a single manufacturer’s of an onboard monitor, the 5 to 7” monitors are generally lineup.One of the first criteria to consideration is whether preferred, with other sizes being useful mounted off the you want just a monitor or a monitor/recorder combination. camera and in special applications. Advantages of a monitor/recorder combination are creating high-quality recordings that your camera’s internal recorder Weight is often overlooked, until mounted the monitor and may not be able to match. are shooting handheld all day. The more weight, the more quickly you will get fatigued, and with fast camera moves, a For the most part, an on-camera monitor serves as a more heavy monitor may shift and upset your balance.If you just flexible viewing screen that is larger than your camera’s need a run-and-gun rig, with a more flexible view screen ISSN: 2393‐8315 16 J. Adv. Res. Manu. Mat. Sci. Metall. Engi. 2017; 4(3&4) Tamilarasan C et al. than the one on your camera, then extra inputs/outputs audio data from an HDMI-compliant source device[3]. and cross-conversion are most likely not necessary for you HDMI is generally considered a consumer interface, but it at this stage of the game. has made inroads into the professional world. Fig 4 shows the HDMI connection with monitor. SDI is considered the professional standard, and HDMI, found on DSLRs, is considered more of a consumer standard, an HDMI signal will degrade and become unusable after although it can be found on camcorders and even some about 49 feet, which limits your cable runs without using high-end cameras. At this point, it is probably a good idea a signal repeater. HDMI is not interchangeable with SDI to consider your budget. HDMI is an uncompressed all- signals, although there are converters available, and some digital audio/video interface for transferring uncompressed monitors will cross-convert from HDMI to SDI. video data and compressed or uncompressed digital Figure 4.HDMI with Monitor Camera Slider adjustments, and a brake knob sets the sliding rail in one place. The tabletop legs are integrated and fold back flat The camera Slider that allows your camera to have an against the rails when you’re ready to pack the slider away, extremely smooth and sliding motion.
Recommended publications
  • Techniques of Cinematography: 2 (SUPROMIT MAITI)

    Techniques of Cinematography: 2 (SUPROMIT MAITI)

    Dept. of English, RNLKWC--SEM- IV—SEC 2—Techniques of Cinematography: 2 (SUPROMIT MAITI) The Department of English RAJA N.L. KHAN WOMEN’S COLLEGE (AUTONOMOUS) Midnapore, West Bengal Course material- 2 on Techniques of Cinematography (Some other techniques) A close-up from Mrinal Sen’s Bhuvan Shome (1969) For SEC (English Hons.) Semester- IV Paper- SEC 2 (Film Studies) Prepared by SUPROMIT MAITI Faculty, Department of English, Raja N.L. Khan Women’s College (Autonomous) Prepared by: Supromit Maiti. April, 2020. 1 Dept. of English, RNLKWC--SEM- IV—SEC 2—Techniques of Cinematography: 2 (SUPROMIT MAITI) Techniques of Cinematography (Film Studies- Unit II: Part 2) Dolly shot Dolly shot uses a camera dolly, which is a small cart with wheels attached to it. The camera and the operator can mount the dolly and access a smooth horizontal or vertical movement while filming a scene, minimizing any possibility of visual shaking. During the execution of dolly shots, the camera is either moved towards the subject while the film is rolling, or away from the subject while filming. This process is usually referred to as ‘dollying in’ or ‘dollying out’. Establishing shot An establishing shot from Death in Venice (1971) by Luchino Visconti Establishing shots are generally shots that are used to relate the characters or individuals in the narrative to the situation, while contextualizing his presence in the scene. It is generally the shot that begins a scene, which shoulders the responsibility of conveying to the audience crucial impressions about the scene. Generally a very long and wide angle shot, establishing shot clearly displays the surroundings where the actions in the Prepared by: Supromit Maiti.
  • 10 Tips on How to Master the Cinematic Tools And

    10 Tips on How to Master the Cinematic Tools And

    10 TIPS ON HOW TO MASTER THE CINEMATIC TOOLS AND ENHANCE YOUR DANCE FILM - the cinematographer point of view Your skills at the service of the movement and the choreographer - understand the language of the Dance and be able to transmute it into filmic images. 1. ​The Subject -​ ​The Dance is the Star When you film, frame and light ​the Dance​, the primary subject is the Dance and the related movement, not the dancers, not the scenography, not the music, just the Dance nothing else. The Dance is about movement not about positions: when you film the dance you are filming the movement not a sequence of positions and in order to completely comprehend this concept you must understand what movement is: like the French philosopher Gilles Deleuze said “w​ e always tend to confuse movement with traversed space…” ​1.​ The movement is the act of traversing, when you film the Dance you film an act not an aestheticizing image of a subject. At the beginning it is difficult to understand how to film something that is abstract like the movement but with practice you will start to focus on what really matters and you will start to forget about the dancers. Movement is life and the more you can capture it the more the characters are alive therefore more real in a way that you can almost touch them, almost dance with them. The Dance is a movement with a rhythm and when you film it you have to become part of the whole rhythm, like when you add an instrument to a music composition, the vocabulary of cinema is just another layer on the whole art work.
  • Film Terminology

    Film Terminology

    Film Terminology Forms of Fiction English 12 Camera SHOTS camera shot is the amount of space that is seen in one shot or frame. Camera shots are used to demonstrate different aspects of a film's setting, characters and themes. As a result, camera shots are very important in shaping meaning in a film. Extreme long shot A framing in which the scale of the object shown is very small; a building, landscape, or crowd of people would fill the screen. Extreme long shot/Establishing shot This shot, usually involving a distant framing, that shows the spatial relations among the important figures, objects, and setting in a scene. Long Shot A framing in which the scale of the object shown is very small A standing human figure would appear nearly half the height of the screen. It is often used to show scenes of action or to establish setting - Sometimes called an establishing shot Medium long shot A framing at a distance that makes an object about four or five feet high appear to fill most of the screen vertically Medium Shot A framing in which the scale of the object shown is of moderate size A human figure seen from the waist up would fill most of the screen Over the shoulder This shot is framed from behind a person who is looking at the subject This shot helps to establish the position of each person and get the feel of looking at one person from the other’s point of view It is common to cut between these shots during conversation Medium close up A framing in which the scale of the object is fairly large a human figure seen from the chest up would fill most the screen Close-up Shot A framing in which the scale of the object shown is relatively large; most commonly a person’s head seen from the neck up, or an object of a comparable size that fills most of the screen.
  • 3. Master the Camera

    3. Master the Camera

    mini filmmaking guides production 3. MASTER THE CAMERA To access our full set of Into Film DEVELOPMENT (3 guides) mini filmmaking guides visit intofilm.org PRE-PRODUCTION (4 guides) PRODUCTION (5 guides) 1. LIGHT A FILM SET 2. GET SET UP 3. MASTER THE CAMERA 4. RECORD SOUND 5. STAY SAFE AND OBSERVE SET ETIQUETTE POST-PRODUCTION (2 guides) EXHIBITION AND DISTRIBUTION (2 guides) PRODUCTION MASTER THE CAMERA Master the camera (camera shots, angles and movements) Top Tip Before you begin making your film, have a play with your camera: try to film something! A simple, silent (no dialogue) scene where somebody walks into the shot, does something and then leaves is perfect. Once you’ve shot your first film, watch it. What do you like/dislike about it? Save this first attempt. We’ll be asking you to return to it later. (If you have already done this and saved your films, you don’t need to do this again.) Professional filmmakers divide scenes into shots. They set up their camera and frame the first shot, film the action and then stop recording. This process is repeated for each new shot until the scene is completed. The clips are then put together in the edit to make one continuous scene. Whatever equipment you work with, if you use professional techniques, you can produce quality films that look cinematic. The table below gives a description of the main shots, angles and movements used by professional filmmakers. An explanation of the effects they create and the information they can give the audience is also included.
  • Resource Materials on the Learning and Teaching of Film This Set of Materials Aims to Develop Senior Secondary Students' Film

    Resource Materials on the Learning and Teaching of Film This Set of Materials Aims to Develop Senior Secondary Students' Film

    Resource Materials on the Learning and Teaching of Film This set of materials aims to develop senior secondary students’ film analysis skills and provide guidelines on how to approach a film and develop critical responses to it. It covers the fundamentals of film study and is intended for use by Literature in English teachers to introduce film as a new literary genre to beginners. The materials can be used as a learning task in class to introduce basic film concepts and viewing skills to students before engaging them in close textual analysis of the set films. They can also be used as supplementary materials to extend students’ learning beyond the classroom and promote self-directed learning. The materials consist of two parts, each with the Student’s Copy and Teacher’s Notes. The Student’s Copy includes handouts and worksheets for students, while the Teacher’s Notes provides teaching steps and ideas, as well as suggested answers for teachers’ reference. Part 1 provides an overview of film study and introduces students to the fundamentals of film analysis. It includes the following sections: A. Key Aspects of Film Analysis B. Guiding Questions for Film Study C. Learning Activity – Writing a Short Review Part 2 provides opportunities for students to enrich their knowledge of different aspects of film analysis and to apply it in the study of a short film. The short film “My Shoes” has been chosen to illustrate and highlight different areas of cinematography (e.g. the use of music, camera shots, angles and movements, editing techniques). Explanatory notes and viewing activities are provided to improve students’ viewing skills and deepen their understanding of the cinematic techniques.
  • Glossary of Filmmaker Terms

    Glossary of Filmmaker Terms

    Above the Line Clapboard Generally the portion of a film's budget that covers A small black or white board with a hinged stick on the costs associated with major creative talent: the top that displays identifying information for each shot stars, the director, the producer(s) and the writer(s). in the movie. Assists with organizing shots during (See also Below the Line) editing process; the clap of the stick allows easier Art Director synchronization of sound and video within each shot. The crew member responsible for the design, look Construction Coordinator and feel of a film's set. Includes props, furniture, sets, Also known as the construction manager, this person etc. Reports to the production designer. supervises and manages the physical construction of Assistant Director (A.D.) sets and reports to the art director and production Carries out the director’s instructions and runs the set. designer. The first A.D. is responsible for preparing the Dailies production schedule and script breakdown, making The rough shots viewed immediately after shooting sure shooting stays on schedule and on budget. The each day by the director, along with the second A.D. is responsible for distributing information cinematographer or editor. Used to help ensure and cast notifications, keeping track of hours worked proper coverage and the quality of the shots gathered. by cast and crew, management of extras, signing Director actors in and out and preparing call sheets. The The person in charge of the overall cinematic vision of second A.D. is also in charge of the production the film and the performance of the actors.
  • FILM-2680: Cinematography II 1

    FILM-2680: Cinematography II 1

    FILM-2680: Cinematography II 1 FILM-2680: CINEMATOGRAPHY II Cuyahoga Community College Viewing: FILM-2680 : Cinematography II Board of Trustees: January 2020 Academic Term: Fall 2020 Subject Code FILM - Film and Media Arts Course Number: 2680 Title: Cinematography II Catalog Description: Focus on advanced issues facing directors of photography working both in the studio and on location. Study of current acquisition formats for motion media productions and their limitations vs. advantages. Gain professional level competency in controlling lighting instruments and cameras, to produce desired effects for a variety of productions. Emphasis on use of light, color, picture composition, lens choice and camera movement to communicate a mood or theme, and how the craft of cinematography is used as a storytelling device. Credit Hour(s): 3 Lecture Hour(s): 2 Lab Hour(s): 3 Requisites Prerequisite and Corequisite FILM-2180 Digital Cinematography. Outcomes Course Outcome(s): Demonstrate knowledge and use of stationary and moving camera effects in a studio/ sound stage environment. Objective(s): 1. Demonstrate competency in set up and operation of track and dolly systems for motion camera work. 2. Operate a doorway dolly for non-track motion camera work. 3. Demonstrate safe and proper operation of camera crane system. 4. Demonstrate safe and proper operation of a camera jib. 5. Design and set lighting grid for a sound stage set. 6. Design and set portable lights for a sound stage set. 7. Describe the roles and responsibilities of all camera department roles. 8. Demonstrate competency in cinema camera operation. Course Outcome(s): Use appropriate set protocol when working with multiple production departments.
  • A Guide to Working Effectively on the Set for Each Classification in the Cinematographers Guild

    A Guide to Working Effectively on the Set for Each Classification in the Cinematographers Guild

    The International Cinematographers Guild IATSE Local 600 Setiquette A Guide to Working Effectively on the Set for Each Classification in The Cinematographers Guild Including definitions of the job requirements and appropriate protocols for each member of the camera crew and for publicists 2011 The International Cinematographers Guild IATSE Local 600 Setiquette A Guide to Working Effectively on the Set for each Classification in The Cinematographers Guild CONTENTS Rules of Professional Conduct by Bill Hines (page 2) Practices to be encouraged, practices to be avoided Directors of Photography compiled by Charles L. Barbee (page 5) Responsibilities of the Cinematographer (page 7) (adapted from the American Society of Cinematographers) Camera Operators compiled by Bill Hines (page 11) Pedestal Camera Operators by Paul Basta (page 12) Still/Portrait Photographers compiled by Kim Gottlieb-Walker (page 13) With the assistance of Doug Hyun, Ralph Nelson, David James, Melinda Sue Gordon and Byron Cohen 1st and 2 nd Camera Assistants complied by Mitch Block (page 17) Loaders compiled by Rudy Pahoyo (page 18) Digital Classifications Preview Technicians by Tony Rivetti (page 24) News Photojournalists compiled by Gary Brainard (page 24 ) EPK Crews by Charles L. Barbee (page 26) Publicists by Leonard Morpurgo (page 27) (Unit, Studio, Agency and Photo Editor) Edited by Kim Gottlieb-Walker Third Edition, 2011 (rev. 5/11) RULES OF PROFESSIONAL CONDUCT by Bill Hines, S.O.C. The following are well-established production practices and are presented as guidelines in order to aid members of the International Cinematographers Guild, Local 600, IATSE, function more efficiently, effectively, productively and safely performing their crafts, during the collaborative process of film and video cinematic production.
  • The Last Temptation of Christ

    The Last Temptation of Christ

    Film Style Comes to TBS Playoff Series Monday Night 10/9/17 This rack focus suggests because not legible within the same frame a distance, a separation between Cub fans and this former Chicago White Sox pitcher. If you search University catalogues, particularly English Departments, an odd “coincidence” emerges: the majority of film scholars are also hermeneuts of sacred texts. In addition to analyses of film style and other cultural studies, I’ve publish a midrashic reading of biblical circumcision, “Call It Magic Surgery: Possessing Members, Possessing Texts,” “Figura Preserves: History (in) Ajar," where I pit the brilliant but limited Eric Auerbach against the Yahweh-inspired St. Augustine, and forthcoming is my “`Who Told Thee That Thou Wast Naked?’ Troubling Nakedness and Knowing in the Tanakh, New Testament, and the Qur’an.” And so here we are with 1988’s The Last Temptation of Christ based on Nikos Kazantzakis 1955 novel The Last Temptation of Christ a film written by Paul Schrader and started by Marty in 1983 but cancelled by Paramount due to an uproar from “the moral majority” The dominant cinematic trope in this film not surprisingly is the GOD SHOT “A God Shot or extreme high angle shot is so named because it often approximates a near impossible perspective of elevation available only to a supreme being. The shot usually confers some sort of moral judgment and, particularly in Hitchcock, foreshadows the death of the subject within the frame.” the God Shot used throughout-here the Temple of moneychangers [ride to Calvary] the
  • Select Camera Or VCR Record

    Select Camera Or VCR Record

    Camcorder Parts: Main Buttons: Select Camera or VCR Record – Camera Play / Rew / Pause / Stop / FF / Rec – VCR buttons Camera: Lens: Focus: Auto Manual (Button +): Ring Buttons Lock Focal Length: Wide Angle (short focal length) Normal (standard focal length) Telephoto (long focal length) Zoom (variable focal lengths) Digital Zoom (non-optical – by enlarging a small area of pixels on the CCD – (usually activated in menu) Iris / Aperture – (an adjustable opening in a lens that lets in light through the lens used to control exposure): Speed of lens: Fast – large aperture (hole) lets in more light (f/1.4) faster/decreases depth of field Slow – small aperture lets in less light (f/64) slower/increases depth of field Exposure: Auto Manual: F-stops (on the lens) Button or in the menu Shutter Speed – usually changed in menu: Normal – 60fps (there are 30 frames per second is US video) High speed reduces blur of moving objects (needs more light) Slow shutter speeds (digital) increases blur of movement Program Mode or Program AE (Auto Exposure) is in menu Usually combines Shutter speed and iris In some camcorders it is the only way to control: Shutter Speed Iris Imaging Device: CCD – charged coupled device or chip – (A small solid-state silicon chip that contains thousands or millions (megapixel) of light sensitive pixels that translate the light energy into a corresponding electrical charge that can be translated into an image) 3 Chip White Balance: Kelvin Scale: 3200 K - Tungsten light – orange 4800 K (vary greatly) - Florescent light – greenish 5600 K – Daylight /overcast – blue/white Auto Manual Monitor / viewfinder Power Source: AC – Adapter to plug camera into outlet/charge battery DC – Battery: NiCad – (old) Memory Lock - drain battery completely before recharging.
  • F9 Production Information 1

    F9 Production Information 1

    1 F9 PRODUCTION INFORMATION UNIVERSAL PICTURES PRESENTS AN ORIGINAL FILM/ONE RACE FILMS/PERFECT STORM PRODUCTION IN ASSOCIATION WITH ROTH/KIRSCHENBAUM FILMS A JUSTIN LIN FILM VIN DIESEL MICHELLE RODRIGUEZ TYRESE GIBSON CHRIS ‘LUDACRIS’ BRIDGES JOHN CENA NATHALIE EMMANUEL JORDANA BREWSTER SUNG KANG WITH HELEN MIRREN WITH KURT RUSSELL AND CHARLIZE THERON BASED ON CHARACTERS CREATED BY GARY SCOTT THOMPSON PRODUCED BY NEAL H. MORITZ, p.g.a. VIN DIESEL, p.g.a. JUSTIN LIN, p.g.a. JEFFREY KIRSCHENBAUM, p.g.a. JOE ROTH CLAYTON TOWNSEND, p.g.a. SAMANTHA VINCENT STORY BY JUSTIN LIN & ALFREDO BOTELLO AND DANIEL CASEY SCREENPLAY BY DANIEL CASEY & JUSTIN LIN DIRECTED BY JUSTIN LIN 2 F9 PRODUCTION INFORMATION PRODUCTION INFORMATION TABLE OF CONTENTS THE SYNOPSIS ................................................................................................... 3 THE BACKSTORY .............................................................................................. 4 THE CHARACTERS ............................................................................................ 7 Dom Toretto – Vin Diesel ............................................................................................................. 8 Letty – Michelle Rodriguez ........................................................................................................... 8 Roman – Tyrese Gibson ............................................................................................................. 10 Tej – Chris “Ludacris” Bridges ...................................................................................................
  • Ncam-Reality-Live-Events-Datasheet-Apr-2019-1.Pdf

    Ncam-Reality-Live-Events-Datasheet-Apr-2019-1.Pdf

    REALITY LIVE Ncam Reality real-time camera tracking enables live virtual broadcast graphics in studio or outside broadcast, including installation on a handheld, Steadicam, Jib and cable-based systems. The Ncam Reality camera tracking system Rapid setup and workflow features a multi-sensor camera bar that is Ncam Reality’s user-friendly interface enables easily mounted on the camera and provides the fast configuration of an automated origin, axis real-time data to the Ncam tracking server. alignment. Operators can also use the intuitive image-based modelling module for manual Ncam Reality provides full position, placement.Ncam supports all production-proven orientation information, plus focal and industry-standard broadcast graphics engines, either via the Free-D protocol or Ncam’s SDK. length and focus, via industry-standard protocols compatible with any VR/AR Integrated lens profiling graphics system. It is suitable for a wide High accuracy lens profiling that produces range of applications both indoors and proprietary lens distortion models for all lens types outdoors, across all camera rigs and even via in-built lens profiling module. Ncam Reality handheld or Steadicam or others. can import pre-existing Open CV lens profiles and export to your preferred graphics engine. Instant real-time tracking Lens encoding No need for time-consuming system calibration, Focal length and focus values are combined within surveys, training and learning of environment. the camera bar by using external encoders or direct data from Canon/Fujinon digital virtual ports via Multi-sensor hybrid technology smart encoder cable. For a robust solution in mission-critical situations, Ncam combines patented multi-sensor Technology.