Return-Path: Received: from mail-ve0-f180.google.com ([209.85.128.180] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP-TLS id 5228332 for AE-List@media-motion.tv; Wed, 25 Sep 2013 18:58:19 +0200 Received: by mail-ve0-f180.google.com with SMTP id jz11so4761134veb.25 for ; Wed, 25 Sep 2013 09:58:30 -0700 (PDT) X-Google-DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=1e100.net; s=20130820; h=x-gm-message-state:mime-version:in-reply-to:references:from:date :message-id:subject:to:content-type; bh=EJK5tABpcESasZ0lsy+gV8cTn1NerdcCnRdExz3E4A0=; b=AOE3rv7RkBIrpVd0WKUkpZ2bMxGsRjEirsgSABOvBoW6ZoqO9DUOF9vqyZSTf57a5O C2l8UcX3C1GsN+u0F9uBhExiKdl1OSbKaM8e2iI7IheqHPDqpfUuSAMBtXZ3M1J3wJf7 Vw7AnC99VnzAPBNAtLGEJwlpAd0TvQ70aZxWIQGyvYwaQ42wHxu43Dil3CMnvdTWpKob B328W4bpmes39f2Me85RiwG9QALT1OUWtWhDVgF33RyrE6ULbFgtjxkfHutwBS5uwKsl YEVP7t7UWFHIK3Q9XYBgW2yJ9s/gwzXuhEgaYX+7IIPZKOklm9VJqQ62TOYo+tlRL/Ld If2A== X-Gm-Message-State: ALoCoQnMNe6ko2qOivQKea46pVKP0cMHR+n2UR+JVfuFXkCnKNa9gTqHufohFfGSDSpIfIQt3uAe X-Received: by 10.220.74.69 with SMTP id t5mr19138116vcj.18.1380128309869; Wed, 25 Sep 2013 09:58:29 -0700 (PDT) MIME-Version: 1.0 Received: by 10.58.112.170 with HTTP; Wed, 25 Sep 2013 09:58:08 -0700 (PDT) In-Reply-To: References: From: Robert Kjettrup Date: Wed, 25 Sep 2013 18:58:08 +0200 Message-ID: Subject: Re: [AE] [OT] Projection mapping onto a moving surface To: After Effects Mail List Content-Type: multipart/alternative; boundary=047d7b624cbea78efa04e7382975 --047d7b624cbea78efa04e7382975 Content-Type: text/plain; charset=ISO-8859-1 very cool work Gmunk behind the scenes: http://work.gmunk.com/BOX-DEMO Robert 2013/9/25 Evan Fotis > > http://www.eoshd.com/comments/topic/3478-robot-dolly-projection-mapping-magic/ > > BurnetRhoades > > Posted Today, 07:02 AM > > What's being projected is (mostly) CG, it's just not done through post > production techniques. The system knowing the position and orientation of > the robotic arm at all times relative to the camera POV (like how the > realtime line of scrimmage and yards-to-go lines are created for live > sporting event broadcast) makes the orientation of projection surfaces > easier to derive compared to having to track them in post. > > > > You could, additionally, sync a second motion controlled camera to > photograph a completely different live scene, instead of using pre-rendered > or on-the-fly CGI, to project onto the surfaces. After 5th Element we > built a system within Houdini to interface to the Digital Domain > motion-control stage that allowed animators to design physically accurate > moves for motion control miniatures rather than the screen-based > methodology that was standard to the industry that often introduced > "skating" and other kinds of motion or performance artifacts that have > plagued flying miniatures for decades (though miniatures were phased out > shortly afterwards so it was a neat proof of concept that never really got > used). This adds a projection component to that sort of realtime telemetry > and view-dependent spacial awareness. > > > > I didn't see specific info on the website or VIMEO but I'm wondering if > the projector is on-axis with the composite camera via beam splitter or if > they're pre-distorting the projection so that the projector can be fixed, > up out of frame and not attached to the composite camera. > > > > It's neat looking, however it's done. > > The imagery being projected is being generated in realtime, most likely. > It's really simple graphics. > > > > It's likely more expensive than doing it in post, because of the large > robots and the motion controlled camera, which is a third, unseen robot as > well as bespoke software to handle integration of the telemetry, motion > control and imagery. > > > > Setting this up means calibrating the three robots to the host software so > that it knows the position and orientation of the tip of each at least, > controlling position and orientation of the projection surfaces (which > would be known dimensions) and the camera (which would also have known > dimensions). MoCo software that calibrates itself to a fixed origin has > been around forever and takes minutes, if that. This is doing that at > least three times and then you're set for the shoot. The rest is mostly > involved in generating the realtime imagery being projected. > > > > On 25-Sep-13 04:58, Phil Spitler wrote: > > Production Company: BOT & DOLLY > Executive Producers: Bill Galusha, Nick Read > Creative & Technical Director: Tarik Abdel-Gawad > Design Director: Bradley G Munkowitz > Lead Graphic Designers: Bradley G Munkowitz, Jason English Kerr > 3D Artists: Scott Pagano, Bradley G Munkowitz, Jason English Kerr, Conor Grebel > 2D Animators: Conor Grebel, Ben Hawkins, Pedro Figueira > Director of Photography: Joe Picard > Lighting Designers: Joe Picard, Phil Reyneri > Projection / TouchDesigner: Phil Reyneri > Robotics Animation: Tarik Abdel-Gawad, Brandon Kruysman, George Banks, Michael Beardsworth > Robotics Operator: Michael Beardsworth, Brandon Kruysman > Prop Fabrication: Matt Bitterman, Ethan Dale > Script Supervisor: Ian Colon > Sound Engineers: Joe Picard, Michael Beardsworth > PAs: Sean Servis, Dakota Smith, Nico Mizono, Eric Wendel, Patrick Walsh > Editors: Ashley Rodholm, Ian Colon > Music / Sound Design: Keith Ruggiero > Sound Mix: Joel Raabe > Performers: Tarik Abdel-Gawad, Iris, Scout > > > > Phil Spitler | Creative Technologist | Bonfire Labs | t : 415.394.8200 m : 415.571.3139 > > > > Website | Facebook | LinkedIn > > > > > > > > > > > On Sep 24, 2013, at 6:50 PM, Chris Zwar wrote: > > > This video has the studio talking today: > http://www.youtube.com/watch?v=lX6JcybgDFo#t=22 > > Someone said the graphics were done by Gmunk, I haven't checked if that's right or not. Still, a very cool piece of eye candy. > > -Chris > > > > +---End of message---+ > To unsubscribe send any message to > > +---End of message---+ > To unsubscribe send any message to > > > > --047d7b624cbea78efa04e7382975 Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable
very cool work

Gmunk behind = the scenes:


Robert



2013/9/25 Evan Fotis <evan.fotis@gmail.com>
=20 =20 =20
http://www.eoshd.com/comments/topic/3= 478-robot-dolly-projection-mapping-magic/

BurnetRhoades

Posted=A0Today, 07:02 AM

What's being projected is (mostly) CG, it's just not done through post production techniques. =A0The system knowing the position and orientation of the robotic arm at all times relative to the camera POV (like how the realtime line of scrimmage and yards-to-go lines are created for live sporting event broadcast) makes the orientation of projection surfaces easier to derive compared to having to track them in post.=A0

=A0

You could, additionally, sync a second motion controlled camera to photograph a completely different live scene, instead of using pre-rendered or on-the-fly CGI, to project onto the surfaces. =A0After 5th Element we built a system within Houdini to interface to the Digital Domain motion-control stage that allowed animators to design physically accurate moves for motion control miniatures rather than the screen-based methodology that was standard to the industry that often introduced "skating" and other = kinds of motion or performance artifacts that have plagued flying miniatures for decades (though miniatures were phased out shortly afterwards so it was a neat proof of concept that never really got used). =A0This adds a projection component to that sort of realtime telemetry and view-dependent spacial awareness.

=A0

I didn't see specific info on the website or VIMEO but I'm wondering if the projector is on-axis with the composite camera via beam splitter or if they're pre-distorting the projection so that the projector can be fixed, up out of frame and not attached to the composite camera. =A0

=A0

It's neat looking, however it's done.

The imagery being projected is being generated in realtime, most likely. =A0It's really simple graphics. =A0

=A0

It's likely more expensive than doing it in post, because of the large robots and the motion controlled camera, which is a third, unseen robot as well as bespoke software to handle integration of the telemetry, motion control and imagery.

=A0

Setting this up means calibrating the three robots to the host software so that it knows the position and orientation of the tip of each at least, controlling position and orientation of the projection surfaces (which would be known dimensions) and the camera (which would also have known dimensions). =A0MoCo software that calibrates itself to a fixed origin has been around forever and takes minutes, if that. =A0This is doing that at least three times and then you're set for the shoot. =A0 The rest is mostly involved in generating the realtime imagery being projected.



On 25-Sep-13 04:58, Phil Spitler wrote:
Production Company: BOT & DOLLY
Executive Producers: Bill Galusha, Nick Read
Creative & Technical Director: Tarik Abdel-Gawad
Design Director: Bradley G Munkowitz
Lead Graphic Designers: Bradley G Munkowitz, Jason English Kerr
3D Artists: Scott Pagano, Bradley G Munkowitz, Jason English Kerr, Conor Gr=
ebel
2D Animators: Conor Grebel, Ben Hawkins, Pedro Figueira
Director of Photography: Joe Picard
Lighting Designers: Joe Picard, Phil Reyneri
Projection / TouchDesigner: Phil Reyneri
Robotics Animation: Tarik Abdel-Gawad, Brandon Kruysman, George Banks, Mich=
ael Beardsworth
Robotics Operator: Michael Beardsworth, Brandon Kruysman
Prop Fabrication: Matt Bitterman, Ethan Dale
Script Supervisor: Ian Colon
Sound Engineers: Joe Picard, Michael Beardsworth
PAs: Sean Servis, Dakota Smith, Nico Mizono, Eric Wendel, Patrick Walsh
Editors: Ashley Rodholm, Ian Colon
Music / Sound Design: Keith Ruggiero
Sound Mix: Joel Raabe
Performers: Tarik Abdel-Gawad, Iris, Scout



Phil Spitler  |  Creative Technologist   |  Bonfire Labs  |  t : 415.394.8200  m : 415.571.3139




Website | Facebook | LinkedIn










On Sep 24, 2013, at 6:50 PM, Chris Zwar wrote:


This video has the studio talking today:

http://www.youtube.com/watch?v=3DlX6JcybgDFo#t=3D22

Someone said the graphics were done by Gmunk, I haven't checked if that=
's right or not.  Still, a very cool piece of eye candy.

-Chris



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