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OK -- can you post your question on the forums at forums.lightcraft.pro/? Then we can get a link with the take and test the behavior.

The standard Jetset tracking is easily good enough for shots that don't have visible ground contact. You can see some videos done by Alden Peters on RUclips that are all straight Jetset tracking. The shots with highly visible ground contact require an additional level of precision; that's what the SynthEyes pipeline is designed to handle.

Are you using the Atomos device to record ProRes RAW? If it can output a HDMI signal that the Accsoon Seemo can read, it should be fine.

In this case, we're not using an overscan add-on, but manually entering in the overscan sensor size calculated in Syntheyes. Much simpler.

If you create a scene locator in Blender or Unreal with a non-zero scale, Jetset will use that value to scale the tracking motion. This will break live action tracking, but is really useful when doing cg-only previs shots, as you can make a 25x multiplier and fly around your scene quickly.

I'm interested in testing this. It should calibrate the offsets and overall field of view correctly with an unsqueezed image. Then to get the more accurate anamorphic calculations we would want to use the SynthEyes post refinement pipeline. If you want to test with us we are interested.

You'll need to install the Autoshot Tools download from the lightcraft.pro/downloads site. Autoshot Tools contains the big AI models and executables that don't change very much, whereas Autoshot changes quickly, so on Windows we have 2 separate downloads.

You'll need the Tentacle Sync to get timecode matched between the iPhone and the cine footage. The SeeMo uses HDMI to capture & transfer video, and there is no standard timecode embedding in HDMI like there is in SDI (although different manufacturers do put timecode in HDMI in different ways.)

The same problem as u :(

Can you join an Office Hours session? We do then Mon/Tues/Fri at 9am Pacific time. Easier to debug live.

@@EliotMack-z3v Thank you. My pb was resolved by changing my network infrastructure. With a dedicated AP and multicast activated

@@EliotMack-z3v However thank you for your reply, I'm trying to contact you, we are using the cine licence on jetset and we have few questions : How to get the comp in 25i/s in after effect without stretching / lerp it manualy in AE, and why the need of importing images from the iphone, as we only need the tracking data ? In live session on unreal, no matter the timecode from tentacle on sdi and the iphone, we always need to resync manualy by a frame or 1.5 frame, with the sdi input (almost realtime from BM card / ARRI mini). were looking for something a bit more reliable (less manual)

@@c3ribrium Are you talking about rendering 25fps interlaced footage? It would be easier to shoot 50fps and then alternate your line processing. We import the iPhone images as we use them for precise sync of tracking data with the cine footage using the flashing codes at the start of a take. Timecode by itself isn't usually precise enough. We're doing our own tests with live sync and a Blackmagic card. As you note it can be tricky. We'll have more info after we close the loop a few times reliably.

The Jetset Cine lens calibration system calculates the offset between the iPhone lens and the cine camera lens wherever they are. The lens 'entry pupils' are (usually) close to the front of the glass, so it's a good idea to keep the iPhone close to the front (and also gives the phone a clear line of site.)

When using Jetset Cine with an external cine camera, the iPhone can operate at a different exposure than the main phone (and in fact we run the iPhone at auto exposure during Cine shots for exactly this reason. )

I haven't used any of the Gaussian implementations in Unreal so I don't know how they behave. The basic splatloc concept should work, however.

This is a standard Canon 24-105 zoom.

Thanks! Post some shots when can!

@@eliotmacksure 👍

We've found remarkable improvements with each new generation of iPhone, especially in GPU capacity and in cooling. The LiDAR hasn't changed much, but I'd still recommended getting the newest iPhone you can simply for the other performance aspects. It makes a big difference. We're getting Jetset ready for iOS 18 and looking forward to what is in the new hardware coming up soon.

@@eliotmack thank you for the clearly answer.

Yes -- we think this will be very useful for 'normal' non-greenscreen projects! The AI rotomattes are very good, and the set scanning + post tracking technique will work on any shot that needs VFX added. In fact, the iPhone uses a natural feature tracking algorithm that will work better in a 'normal' environment, since there are many more trackable corner features than on a greenscreen.

I thought I was crazy because I didn't a _3 version and was wondering when that was supposed to be created? It seems like a part of the tutorial is missing?

If you're running into a problem, please post on the forums at forums.lightcraft.pro. Then we can follow up on the details. USD model exports are usually easy to fix.

Good suggestion. I'm working on an update of the rigging that better handles an underslung camera rig by mounting the iPhone to the side of the main lens instead of above it. It's also fine to raise up the iPhone a bit to clear the matte box.

If you want the live action and rendered CG signal to stay in sync, you'll need the Tentacle Sync. There may be some way to hack Timed Data Monitor to make that work, but frankly the Tentacle works great and is inexpensive. We also plan to use the timecode data to assist post production take syncing.

@eliotmack Sounds good :) I ask because I try to keep my camera rigs with the least amount of extra battery powered hardware as possible. Less hassle and points of failure for a rig that is already full of lens encoders, tracking system, monitor, etc etc. I was also able to get a non-Jetset VP rig to "appear" to be in sync with Unreal without a Tentacle Sync so was wondering if your script might be able to do the same. Good point on organizing the takes, though. I'll go with the TS on the rig.

The base version of Jetset is iPhone/iPad only. Jetset Cine (the version in this video) connects to external cine cameras and provides the lens calibration and post production footage processing.

Required for synchronized real time rendering in Unreal. Highly recommended for general use as then the tracking data has the same timecode as the cine video takes.

@@eliotmack can I get away with it for just camtrack data to be used in post?

Shots with visible CGI & live action joins. In this case it's the join between the CG railing and the practical floor, but in other shots it might be high degrees of floor contact.

@@eliotmack do you mean that on every project/shots we have to refine 3-D tracking with suntheyes or equivalent ? I am confused because I thought Lightcraft and the accelerometer of the iPhone already did the job of a 3-D tracking ?? If it’s the case, the real benefit of light craft is the ability to monitor in real time as CGT sets with a live video. ?? Thanks

@@stephanec3436 For many shots the standard Jetset tracking is fine. All but one of the shots in ruclips.net/video/s2y2lcsL_Lk/видео.htmlsi=oOkG1VY3s8Q5wM5X are from the Jetset data. For certain shots with very visible ground contact, you may need to do tracking refinement. It's very shot-specific.

Watch closely at 17:32 -- it goes into detail on the Blender import process.

Too many dropped frames can cause the tracking quality to suffer. A cooler is highly recommended especially when rendering some of the heavier scenes that Unreal generates.

Make sure you have something in the Unreal scene selected before hitting F; the F command just frames the selected object in the viewport.

Please feel free to join our Office Hours sessions if you want to interactively fix problems. lightcraft.pro/office-hours/

I also can't export the layer as a USD

Unreal has an integrated USD exporter that works on Mac. It works but doesn't handle everything that the Omniverse exporter does. We''ll do a tutorial on it at some point.

@@eliotmack Thank you so much

Yes, but the quality of the HDRI wasn't that high, so we haven't pursued this heavily for VFX integration.

@@eliotmack Oh that’s too bad. It would be awesome if that was possible somehow. Thank you for the answer!

check if imageplate plugin is enabled, worked for me

@@knstntn.g cool thanks! i will try it out!

If you run into problems, please post on the forums at forums.lightcraft.pro/. Much easier to track down details there.

Yes -- all of the SeeMo devices will work with Jetset Cine.

@@eliotmack thank you! Any limitations with the non-4K version?

@@TrueButFictional 1080p is fine for calibration. The SeeMo 4K has a SD card reader so you will be able to record takes directly to it if desired. Very useful for productions that don't want anything near iCloud.

@@TrueButFictional The SeeMo 4K has a SD card slot that Jetset will soon be able to record to. Other than that no limitations.

We've tested spherical extensively. Anamorphic calibration in Jetset should be fine for getting a basic track. For sub-pixel refinement we're developing a Syntheyes workflow that can be extended to anamorphic solves.

@@lightcrafttechnology Thank you, looking forward to it