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Lighting #98
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@nuclearsugar @AndrewHazelden @KCizugar any thoughts or suggestions when it comes to lighting equipment in shooting 360 videos? from experience, fluorescent lighting and natural lighting are the best. but i m interested in what equipment is safe to consider. I could mention that traditional lighting is possible if shooting 180 quadrants, with RED cam for example, and stitched at later time. (hiding equipment in the other 180 not being recorded.) https://github.com/making360/making360/blob/master/latex/chapters/problems-of-shooting/lighting.tex |
An issue with consumer / prosumer cameras is the lack of video / shutter syncing with frequency of the grid power which is used to avoid flickering in the recorded image. In Europe they are on 50 Hz power, and North America is on 60 Hz power so the correct shutter speed for interior filming would be slightly different. This would show up most when you try and film on a real "street" location like in a convenience store with florescent lighting. Looking at some of the prosumer video tips from DSLR filming people like Philip Bloom would explain the best solutions to this kind of issue. |
If a person wanted to boost the amount of light in an interior scene filmed on a real location, a large daylight color temperature HMI lighting fixture could be used to beam extra light from outside the building through the windows to really light up an interior room scene. This light source would appear to be natural daylight coming into the room which means you don't need to do lots of post production and rig removal like adding overhead suspended lights in a scene would need. A professional lighting grip would have to operate the HMI lighting fixture as they are really large, run hot, and need special UV filters to avoid sun burns. |
So far I've been lucky. I've only shot using natural daylight or brightly lit rooms. I've had a little bit of trouble with fluorescent bulbs adding a very slow pulsing effect to each of the GoPro cameras. But I think this is a problem any video camera would face. But it was easily corrected with some color correction in After Effects. I recently stumbled across this interesting lighting concept. http://i.imgur.com/NaCcpDl.jpg I'm currently working with some professors at MIT that will be doing some underwater scuba 360 video and so they are designing their own lighting rigs similar to this. I worry that the exposure of the horizontal cameras would be affected, but perhaps with the physical masking it would be ok. Just started the project, so we will see what happens and I'll share our findings with you. |
@AndrewHazelden can you help write this chapter? I have less experience and knowledge in terms of lighting. I am working on the noise experiment, then color grading and ingestion. Let me know if you can't, its ok. |
Hi. I added an HMI lighting section to the lighting chapter that should give people some ideas when filming on location. I also went through and conformed the spelling for several technical terms across the .tex files today too. Here are some misc notes from my proof reading:
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this is awesome, thanks so much for doing this edit work! Will merge On Wed, Nov 18, 2015 at 7:39 PM, Andrew Hazelden notifications@github.com
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@making360/m360 do we need pictures for this chapter? if so, does anyone have any? |
I added a new illustration |
I noticed a really neat idea for a custom 3D printed LED macro ring light that attaches around the front lens area on a GoPro camera and sits just outside the field of view of the fisheye lens. It looks to me like it would have great potential for making an "invisible" panoramic 360° lighting solution as it should be possible to customize that idea to 3D print a set of attachable macro ring lights that are compatible with a GoPro 360 style rig. GoPro Ringlight Baseplate: Maybe something like a circular piece of industrial velcro could be used to affix the ringlights to the outside of each GoPro camera holder on a panoramic 360° video rig? Cheers, |
nuclearsugar commented Nov 14, 2015 said... Not even a nice idea, won't work, tried this approach on a Cousteau job years ago. It's all got to do with water quality (suspended solids) which affects its diffraction qualities, so no matter how much unfocused fill light you pump in it just creates a glowing cloud around the lamps. Then we realised micro was more interesting, swapped out the lenses for short wide macros and a whole new minature world was revealed. Would never have had happened if the intended design delivered what its designer dreamed of... well intentioned but ignorant of simple optics and physics, great drawings though and that's why the money was approved by people even less intelligent than he was :) We live in hope. |
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