Any number of cameras can be used at 40 degrees each. Nine will render the full CircleVision seamless and also taller view. Cameras can be removed quickly for loading and return to their position without losing allignment.
Front surface mirrors enable all of the cameras and lenses to be effectively, very close together. As close as the human interocular to each additional view. Necessary for overlaps. A line up procedure is included to optically line up the cameras for precise transfers.
Image overlaps of .090 allow for 360 films to be created and projected unlike existing frame or mullion CircleVision systems. Footage from different cameras can be blended together to create a seamless digital plate background or an entire film in the computer or as needed in post for digital effects.
Backgrounds can be any panorama width in the multiples of forty degrees. The image can be seamless all the way around or it can retain sideline divisions. The decision about overlaps or division use can be made after filming. The system creates image overlaps of 4.5 degrees per side. So far, two seamless full circle 360-degree films have been shot with the rigs although the producers have elected to project with the old mullion system. The images can be blended together in projection with soft masks or blended in post to
be totally seamless. Digital projection is recommended. The flopped images due to mirror use are easily corrected in post or flopped in projection.
The vertical overall angle of view is 37 degrees. This is good as it is or allows wide screen images to be extracted in post and titlted 10 degrees up or down. In other words, a full or part CircleVision film which by nature must be shot level (cameras in front looking up would cause cameras in back to look down) can tilt up or down for the very first time and do it after the photography in transfer. Plates for special effects scenes can be shot with as many cameras as necessary to cover the later blue/or green screen requirements. Up and down or sideways scans can be done to match most requirements of normal FX shots. Roll the number of cameras required or remove or add cameras. The cameras are interlocked and a bloop light system
is provided. Right now, cameras are optically aligned on the mount by A.E.C. at Clairmont Camera in cooperation with technicians there before going out to location. An A.E.C. tech is required during the shoot.
In CircleVision use the height of the screen can go up 19 % over the old system and still be seamless for the first time. It is a new system and it has not been projected seamless as of this time but has been seen stitched together on video. The reason the screen can be taller is that the horizontal angle has been limited a bit to allow for the seamless overlaps. The result is a win win situation as the overlaps are working and the taller screen renders a more impressive visual display. The overlaps are necessary for digital panning and also for seamless projection.
The mount is compact and easy to use when compared to older, and heavier systems. New Zeiss lenses used on our system are far superior to the older CircleVision lenses. There is no corner vignetting with the new lenses.
Recent tests on a major feature using four cameras (out of nine) have proved successful and the device is scheduled to work mid September on that film to create seamless traveling backgrounds (with 6 or more cameras) for car chase sequences. The four camera test was performed from a motorcycle sidecar rig going 90mph and the footage was smooth even when stitched together to render one image in the computer out to 169 horizontal degrees.
For further information contact Jim Dickson at A.E.C,Inc. (818) 841-5850.
The system is very affordable compared to older and less portable systems and rents for $2,500 per week. Questions can be submitted by E-mail contact
JDAEC@aol.com .
All Electric Cameraworks Inc. Jim Dickson CircleVision film credits: "The
Kentucky Derby" at Churchill Downs, running continuously in the museum (an award winner) and "Top Secret" a 360 motion base ride film running near Shanghai for Catalyst Productions.
The new CircleVision equipment package may also be purchased. The complete system including: instructions, camera line up, and shipping cases is US $48,000. Plus air freight. The weight is approx 150 lbs. not including cameras. Easy mounting on a dolly or crane. Nine weeks delivery.
HiDef Innovation for the Future
by Jill Peres-Sanders
© all rights reserved - HiDef.com
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Derek Grover of Ultimate Definition wraps new hit sitcom "That's My Bush", first ever sitcom series for Comedy Central to be shot on 24p.
The 8 episode series written and directed by the creators of "South Park" Matt Stone and Trey Parker, utilized four "Panavised" HDW-F900 with Panavision 11 to 1 Primo Digital zooms.
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Derek modified the standard Panavision set-up for ease of use by the camera operators by creating new counter balance weights which will now become part of the standard Panavision package. In addition, Derek developed and built a new quick release camera cable system which combines all audio, video, sync, remote & power cables to the camera into a sleeved "mult" with a pig-tail at the camera end that attaches with a quick release 26 pin connector. The new cable system allows the operator to reposistion the cameras at least 5 minutes quicker each time they move from set to set, thus saving the production about 50 minutes per shoot day.
Digital Vision Engineer and 24P HiDef Production Specialist, Derek Grover recruited by Panavision to develop more operator friendly multi-camera 24P HiDef packages.
After numerous 24P HiDef productions, Derek Grover has been recruited by Panavision VP Bob Harvey to assist in the design, development and
prototyping of accessories and systems to streamline Panavisions new 24P Hidef camera packages. "We met after the the production of Carmen Brown for MTV films, I had integrated a new mini-mult cable for the onboard Astro monitor that Michael Bravin at BandPro had built which combines the RGB and power into one small cable, in response to mistakes by the operators who consistantly mis-connected the cables. During the course of that show, I had identified a half dozen other ways to improve the package from an operators and technicians stand-point. Not long after that Bob called me into his office to pick my brain. I shared some of my ideas with him and he asked me if I would be interested in prototyping some new cabling and terminal systems for them based on my designs," stated Derek.
Since then, Derek's designs for the Panavision 24P system include the new counter balance weights for the Panavision 11 to 1 Primo Digital zoom which allows the camera to balance without the use of the Anton Bauer battery. The quick release cabling system that reduces wear and tear on the onboard camera connectors and speeds the repositioning of cameras when disconnection is required. And the terminal equipment "Fly Pack" which speeds load-in and wrap time by about 50%. Other systems he is working on are to make the use of the camera in a steadi-cam and jib arm mode more user friendly.
SPECIAL MENTION
We would like to make special mention of a POST HOUSE called "Admit One". Long time HiDef supporter Don Miskowich has moved over to this Santa Monica based company from Sony's HiDef Center. No doubt you will be in good hands there!
