![]() The range of infrared you use is determined by filters added to the camera to cut the visible light and only pass certain parts of the infrared spectrum. This testing was needed to determine exactly what range of infrared light would produce the best results. We soon found issues with this setup, but it allowed me to take the testing to the next stage before committing to modifying a more expensive camera for infrared. Now I could start to experiment, pairing the now infrared sensitive A7S with a second camera on the 3D rig. Panavised and Infrared sensitive A7S with Panavision Primo lens.Īs the DP wanted to test the process with Panavision lenses the camera was fitted with a PV70 mount and then collimated in it’s now heavily modified state (collimation has some interesting challenges when working with the very different wavelength of infrared light compared to visible). A7S being modified for infrared (full spectrum). So, I took an old A7S that had been gathering dust for a while, dismantled it and removed the infrared filter from the sensor. To start with this needed to be cheap, but it also needed to be full frame and capable of taking a wide range of cinema lenses and sensitive to both visible and infrared light. The next challenge was to create a low cost “test mule” camera before even considering what adaptations might be needed for a full blown digital cinema camera. Even better I still had a suitable 3D rig, so at least that part of the equation was going to be easy (or at least that’s what I thought). I have shot with infrared before, so it wasn’t all new, but I had never used it this way before.Īs I did a lot of 3D work when 3D was really big around 15 years ago, including designing award winning 3D rigs, I knew how to combine two cameras on the same optical axis. I don’t claim any originality in the process, but there is a lot of information missing about how it was actually done in Nope. So a frantic couple of weeks ensued as I tried to learn everything I could about infrared photography and video and how it could be used to improve traditional day for night shooting. There are a lot of things that can trip you up badly. I discovered many small things that need to be just right if this process is to work well. This kind of challenge is something I enjoy immensely, so how could I not accept the challenge! I had some insight into how Hoyte Van Hoytema did it but I had none of the fine details and often its the fine details that make all the difference. Well, I was recently asked if I could come up with a rig to do the same using Sony cameras for an upcoming blockbuster feature with an A-list director being shot by a top DP. That's why I'm wondering if I should record in higher resolutions, even though I only want 1080 as the end product.Many of you may have already seen articles about how DP Hoyte Van Hoytema used a Panavision System 65 film camera paired with an Alexa 65 modified to be sensitive to infrared light to shoot day for night on the film “Nope”. Since I can't change the recording format for GoPro (MP4), I'm not sure where that leaves me if I have to convert every video and quality is compensated each time. Should I be recording 2k+ video on the GoPro if quality is going to be lost, instead of sticking with 1080? My end result is for all the videos to be 1080 quality, but 2 of the aerial clips I've put in FCP look fuzzy and more pixilated when compared to the original video. ![]() Is there something I am doing or not doing that is contributing to the loss of quality of the video? I have the compressed and original video side by side comparing them and the compressed is a bit less sharp than the original. So I guess I have a couple questions for anyone who is willing to answer them. ![]() I even chose the ProRes 422 (HQ) to see if that made any difference and it didn't (other than the file size being a bit larger). I didn't mess with the settings or do any cropping. I converted the video using Final Cut Studio's Compressor and there was a pretty obvious loss in quality. Apple ProRes 422 is a format that seems to be accepted by many people. Since Final Cut Pro doesn't let me edit MP4 video files, I have been looking online for ideal video file conversions. The original video is 1920 x 1080, 60fps and is in MP4 format. I have a GoPro Hero 3+ that I use on a DJI drone and I am in the process of editing these videos in Final Cut Pro 7.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |